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Tag Archives: colonial

Boom!

04 Monday Jul 2016

Posted by rarebooks in Uncategorized

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Tags

American, Benjamin Franklin, Bill of Rights, Boston, Boston Gazette, Boston Massacre, British, colonial, colonies, David Hume, Dunlap, Edmund Burke, England, Great Britain, independence, John Adams, John Wesley, Josiah Quincy, London, monarchy, pamphlet, Philadelphia, Richard Price, Stamp Act, tuberculosis, William Pitt

“…that sacred blessing of Liberty, without which man is a beast, and government a curse”

E263-M4-Q7-1774-title

“No free government was ever founded or ever preserved its liberty without uniting the characters of the citizen and soldier in those destined for the defence of the state…such are a well-regulated militia…who take up arms to preserve their purposes, as individuals, and their rights as freemen.”

OBSERVATIONS ON THE ACT OF PARLIAMENT…
Josiah Quincy (1744-1775)
Boston, N.E., Printed for and sold by Edes and Gill, 1774
First edition

Attorney Josiah Quincy, a Boston native, wrote a series of anonymous articles for the Boston Gazette in which he opposed the Stamp Act and other British colonial policies. His evenhandedness, however, in his approach to the troubles between the American colonies and England, served him and the colonial stance well. He, along with John Adams, defended the British soldiers in their trial after the Boston Massacre. That act aside, in Observations, Quincy urged “patriots and heroes” to “form a compact for opposition…For, under God, we are determined that wheresoever, whensoever, and howsoever we shall be called to make our exit, we will die free men.” In the same year as this publication, Quincy went to England to argue the colonial cause. He died of tuberculosis on the way home in sight of land.

E211-P9625-1776-title

“Our own people, being unwilling to enlist, and the attempts to procure armies of Russians, Indians, and Canadians having miscarried; the utmost force we can employ, including foreigners…This is the force that is to conquer…determined men fighting on their own ground, within sight of their houses and families, and for that sacred blessing of Liberty, without which man is a beast, and government a curse. All history proves, that in such a situation, a handful is a match for millions.”

OBSERVATIONS ON THE NATURE OF CIVIL LIBERTY…
Richard Price (1723-1791)
London printed 1776; Philadelphia, Re-printed and sold by J. Dunlap, 1776?

Richard Price, radical in his religious and political views, was well-known in Great Britain as a writer on economic and political issues. A close friend of William Pitt, David Hume, and Benjamin Franklin, he became one of Britain’s most vocal supporters of American independence. Several thousand copies of Observations were sold within a few days. The pamphlet both extolled the rights of the American colonists and excoriated the British crown. Harshly criticized by John Wesley, Edmund Burke, and others, the controversy quickly made Price a celebrity. Price argued that governments held their power in trust from the people and were not instruments of divine authority. The monarchy of England, he said, was only legitimate because it ruled by consent of the people under England’s Bill of Rights. The revolutionaries in the American colonies were merely asserting the same principle. His pamphlet played no small part in encouraging the colonists to declare independence. In 1778 he was invited by Congress to go to America and assist in the financial administration of the states. He refused the offer, unwilling to quit his own country.

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Indigenous Peoples — student response

03 Tuesday May 2016

Posted by rarebooks in Courses

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Tags

accordion fold, American, ancient, animal hide, Ann Wilcox, Antonio del Rincon, Antonio Peñafiel (1831-1922), archaeology, Austria, background, bark paper, Book of Mormon, books, border culture, Brisa Zavala, cactus, Catholicism, Cecilia Vicuña, Chanccani, codex, Codex Tulane, códices, collage, colonial, colonized, colonizer, comic books, context, demographics, dictionary, English, Enrique Chagoya, experience, facsimiles, feathers, Felicia Rice, form, genealogical, genealogy, geography, grammar, Granary Books, Graz, Guillermo Gomez Peña, gum wrappers, handwritten, Incan kipu, indigenous peoples, indigenous populations, interdisciplinary, Isabel Dulfano, Japanese, Joe D'Ambrosio, knots, language, Latin America, library, linguistics, literature, Luise Poulton, manga, manuscripts, Marriott Library, Mary Elizabeth Smith, Maya, Mayan epigraphy, Melissa Gutierrez, Mesoamerican, metallic, Mexican, Mexico, Middle American Research Institute, Miranda Best, Mixtec, Moving Parts Press, Nahuatl, New Orleans, New York, Oaxaca, Pedro Balli, performance artist, Phoenix, pictographs, poem, pop-culture, pop-up, pre-Hispanic, priest, quipu, rare book collections, Rare Books Department, resources, saguaro, Salt Lake City, Santa Cruz, Spanish, surreal, Tulane University, University of Utah, wool, words, writing

These commentaries are excerpts from an assigned project for Humanities4900/6900, “Indigenous Peoples: Social and Cultural Perspectives,” taught by Isabel Dulfano, Spring semester 2016. Students studied demographics, Mayan epigraphy, Incan kipu, archaeology, linguistics and other topics as an interdisciplinary approach to critically expanding their understanding of indigenous peoples, historically and in a contemporary setting.

Dr. Dulfano arranged for two class periods to be devoted to working with pieces ranging from Mesoamerican codex facsimiles to 16th through 19th century books to 20th and 21st century artist’s books from the rare book collections. The students looked at books which reflected the colonized and the colonizer, the perspective of Church and State, and self-referential texts depicting imposed visions of time and place.

From Brisa Zavala:

F1219-P39-title
Nombres geograficos de Mexico…
Antonio Peñafiel (1831-1922)
Mexico: Oficina tip. De la Secretaria de foment, 1885
First edition
F1219 P39 1885

As part of a two-day class activity we visited the Marriott Library’s rare book collections and had the opportunity to interact with facsimiles and original copies of books pertaining to indigenous peoples of Latin America.

On the first day we interacted with pieces dating from the 8th century Common Era to 1899. One of the books that caught my eye was Nombres Geograficos de Mexico, 1885. This book contains names of various geographical places in Mexico, some of which still remain as the names of towns in present-day Mexico. The author, Antonio Peñafiel, was the Director General of the Census Department of Mexico. The book was bound and organized in a traditional western way, is about the size of a notebook, and written in Spanish. The first half contains detailed explanations of the meaning of each geographical name and the second half contains colored pictographs corresponding to each place name.

F1219-P39-pg11

I particularly enjoyed looking at this piece. I have traveled in Mexico and noticed many names of smaller towns in Nahuatl, but never knew the meaning of the name. I am studying Nahuatl at the University of Utah and I have some knowledge on how place names are formed but it was fascinating to not only learn the meaning behind the names but also see corresponding pictographs.

On the second visit to the Rare Books Department we looked at “contemporary” books, also pertaining to indigenous peoples of Latin America. My favorite piece was Codex Espangliensis: From Columbus to the Border Patrol.

N7433.4-G652-C63-1998-cover N7433.4-G652-C63-1998-Noctli
Codex espangliensis…
Guillermo Gomez-Peña
Santa Cruz, CA: Moving Parts Press, 1998
N7433.4 G652 C63 1998
Text in English and Spanish written by performance artist Guillermo Gomez-Peña, collage images by Enrique Chagoya and designed and printed by Felicia Rice.

This piece “confronts realities and surrealities of border culture, juxtaposing examples of graphic art from pre-Hispanic times to present-day Mexico with traditions of Western art and contemporary American pop-culture.” The book is structured as an accordion-fold similar to Mesoamerican codices. However, it is printed on one side only and thus can be read western-style. The print is black and red and the art style has a strong resemblance to Japanese manga and comic books. I plan to visit Rare Books soon and “read” this piece with more time to observe and pick up on the detail.

My experience with the rare book collections expanded my knowledge not only of what kinds of “books” exist, both in past and present times, but also how time periods effect contents and form.

As a student of the Nahuatl language it is very important to me to have access to codices and other material written in Nahuatl, from grammar to doctrines. It is also interesting to experience how the form of older texts, such as the accordion structure, has impacted contemporary texts and how these forms are used to make a statement. It is important to society to preserve these books in order to preserve knowledge and to allow for future studies of past societies. This opportunity was extremely enriching academically and all students should visit the rare book collections.

From Melissa Gutierrez:

At first I thought it was odd that we were going to the library to see old books, to be honest, at that moment I would rather have had a class discussion on the very many topics regarding the indigenous populations we had been learning about. However, going to see the rare book collections was a surreal experience. Having about 40 some books laid out on tables, waiting to be explored was an invitation to me. That invitation was to sit down and dive into history and discover. I found this experience to be powerful and enriching. The old books came to life, helping me picture and understand history on a whole new and different level. When I sat down with the books it gave me the opportunity to ask myself, “Do I value history?”

PM4063-R5-title

PM4063-R5
Arte mexicana
Antonio del Rincon (1556-1601)
En Mexico: en casa Pedro Balli, 1595
First edition
PM4063 R5

One of the books that I enjoyed analyzing was a book written in the 1500’s. This book was written by a Spanish priest who learned the language of Nahuatl. The book had grammar and a dictionary. The book was falling apart and not handwritten. While looking at this book I wondered what the Spanish priest thought as he was learning Nahuatl. Most Spanish priests believed that they were helping the indigenous peoples come to God by converting them to Catholicism. I wonder how it would have felt to be part of that project. Did the Spanish priest have indigenous people help him learn and understand Nahuatl? These are the kinds of questions I asked myself while analyzing the book.

From Ann Wilcox

N7433.4-V536-C48-2012
Chanccani quipu
Cecilia Vicuña
New York: Granary Books, 2012
N7433.4 V536 C48 2012

The piece that impressed me the most was Chancanni Quipu. It was a modern quipu that had writing on the wool, rather than knots in the wool. The writing was of a Chancanni poem. I thought this piece was interesting because it had a mix of the ancient system of writing of the quipu and modern system of writing with words.

The writing was a mix of Spanish and the Chanccani language. Accompanying the quipu was a translation of the poem and a brief history and explanation of how quipu are made.

The important thing about this piece is that it takes ancient culture and practice and puts a modern spin on it. The author, using diverse cultural cues, was able to communicate in a way that people from diverse cultures could understand. I think that it also shows that there are many forms of quipu now and authors can be creative while still connecting with their culture. It is an important piece because it wasn’t a bound book or words or illustrations on paper. This was a new medium that the author found to communicate and still be effective.

The experience of seeing the rare books, especially in the context of indigenous work, opened my eyes to the amount of types of book and recording methods there exist in the world. It impressed me that there were so many perspectives shown through the pieces. I valued that I got to touch and read the book in person and not through pictures. It was a very special experience and I don’t think that it can be replicated. I will always appreciate this experience, especially when I am visiting museums and see works of art and literature that are behind glass. I will think of this experience, when I got to handle the books myself.

From Miranda Best:

F1421-T95-no.61
Codex Tulane
Graz, Austria: Akademische Druck-u Verlaganstalt; New Orleans: Middle American Research Institute, Tulane University, 1991
F1421 T95 no. 61
Facsimile with introduction by Mary Elizabeth Smith (b. 1932)

The first piece I would like to discuss is the Codex Tulane, ca. 16th century. The codex, originally made from overlapping animal hide, is an early Colonial manuscript from the Mixtec-speaking region of southern Mexico. The manuscript presents genealogical information with a list of native rulers of two Mixtec communities. Within this list are contained more than one hundred male and female figures, seated opposite of their spouses.

The piece is beautifully made. Although we were only able to see a facsimile, it is wonderful to experience these pieces in physical form. How amazing it would have been to touch and see the original piece!

Something interesting about the experience I had was that when I approached the codex, the way it was rolled up was in a way so that I would be unrolling it from the bottom and opening it up. When I began to see the figures, they were very simply drawn, but further up, as I unrolled the codex, the figures began to be a little more elaborate. What I observed is that it was the same figures, but something was added onto them as it went up each row. I did not quite understand what was going on until Luise [Poulton] explained that it could be like genealogy and it made a lot more sense to me. I felt like I could connect with what I was seeing. I loved being able to see the advancement of the figures. It made me wonder if it meant that there was a connection with those who seemed to be of higher power (higher up on the codex) and those who were further down (with less details and figures added).

The first day in the library, I had a hard time finding pieces that I could really connect to. All of the pieces were beautiful and I thought they were interesting, but I did not feel anything super exciting about them. I enjoyed this codex after I understood a little more about it and I liked learning about the resources we have available to us. I would love to take more advantage of this and utilize it to learn more about the history of these people. I thought it was very interesting that Luise pointed out the importance of looking at the “who, what, where, when, why and how.” Not because it is something new to me, but rather something that Professor Dulfano is always pointing out to us. We cannot read a piece of literature without understanding the context and its background. It makes for a much more fulfilling experience.

BX8625-M39-1983-cover

BX8625-M39-1983-title

BX8625-M39-1983-2-3spread

Ump’it u yeybilil ti’ u libroil Mormon: hahil t’an Yo’olal Cristo
Salt Lake City: Dza’an ohetbil tumen u Iglesia Jesucristo ti’ le Ma’alob Maco’obo’ tu Dzo’oc kino’oba’, 1983
BX8625 M39 1983

The second day in the library was a real treat. I felt a connection with a lot of the pieces and definitely enjoyed the experience more that day than the first day. Of all the pieces I saw, my two most favorite were the Book of Mormon, written in a Maya language and the 1997 piece by Joe D’Ambrosio, Oaxaca and the Saguaro. It is one of one hundred and twenty five copies made. The University of Utah copy is numbered 19.

N7433.4-D34-O29-1996-cover
Oaxaca (Wa-ha-ka) and the saguaro (sa-wah-row)…
Joe D’Ambrosio
Phoenix, AZ: D’Ambrosio, 1996
N7433.4 D34 O29 1996

This book was hand bound by the author in a brown cloth and Mexican bark paper. The front cover has a beautifully structured cactus with twisted material to give more structure to the cactus.

N7433.4-D34-O29-1996-Feathers

Throughout this book, you will find beautifully crafted pop-up images and real feathers, as well as other illustrations.

This piece made me very excited for numerous reasons. First, I love books made from raw hide/leather, or other natural materials. I find them so beautiful and real. The cactus made it even more exciting to see what was inside. As I flipped through the pages, I really enjoyed seeing the illustration because they reminded me a lot of my childhood. Pop-up books were my favorite as a child, so it was a nice moment to reminisce. Other illustrations in this book continued to remind me of my childhood and some of the art projects I did. There was one page in particular that was decorated with a metallic material. It almost seemed to me to be made from gum wrappers. I used to peel apart gum wrappers and use the silver part to make figures on another piece of paper. This particular page reminded me of that.

N7433.4-D34-O29-1996-pg8-9apread

Generally speaking, it was a beautifully made book and very enjoyable to look at. But it was an even more delightful experience because it had a nostalgic feeling for me.

As I mentioned above, I had a better experience the second day than the first. I don’t know if it was because there were more pieces that caught my attention or if it was because we had more time to look at everything. But it really made me appreciate the resources we have and made me think how privileged we are to have access to such “rare objects.” Many of these books, codices, etc. are completely from “out of our world” and we have the opportunity to step inside the world of others and experience it. If we had had more time, I would have loved to look longer at all the books and discover what they were all about. As it was, I only got to observe a small portion of everything. I would love to be able to go back and see what more there is and learn more.

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DOC/UNDOC — Part 2/6, “A Mouth Full of Ink”

22 Tuesday Dec 2015

Posted by rarebooks in Uncategorized

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acotaciones, Ars Shamánica Performática, art, book, book art, bookmaking, books, Catholic, citizen, citizens, colmillo de coyote, colonial, colonized, commentary, country, culture, desert, Doc/Undoc, documentado, economy, Felicia Rice, Fluxus, Gesamtkunstwerk, Guillermo Gomez Peña, Hispanic/Latino, human rights, identities, identity, immigrants, ink, Isabel Dulfano, Jennifer González, laws, lucha libre, Luise Poulton, mask, media, monologues, Moving Parts Press, objects, obsidian, oils, Open Book, performance art, poem, poems, poetry, racist, rare books, reader, readers, reliquaries, Sam DeMonja, smells, sounds, Spanish, stereotypes, stethoscope, stones, sunglasses, symbol, tastes, undocumented, United States, videos, violence

During Fall Semester, 2015, University of Utah graduate students in SPAN6900-2 Analyzing Texts: Form and Content visited Rare Books. During the third and final session with Rare Books, the students were introduced to late 20th century/early 21st century fine press and artists’ books. The session ended with the premiere viewing of our copy of DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, purchased in September. Student response was so strong that managing curator Luise Poulton, in her typical over-enthusiastic way, exclaimed, “You should post your thoughts on Open Book!” Prof. Isabel Dulfano, in her own enthusiastic way, immediately took up the suggestion and made this a new assignment, right then and there. Bless the beleaguered grad students! Rare Books is pleased to present these responses.

From Sam DeMonja

Doc/Undoc photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

This is a brief analysis of DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, published in 2014, by Moving Parts Press. Our class had the opportunity to explore a variety of printed works. Each book carried with it a unique style and background. Many of these books transcended the traditional concept of bookmaking to create works of art.

One such work of art our class viewed is DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática produced by Guillermo Gomez Peña, Jennifer González and Felicia Rice. At first glance, this piece is nothing more than an indiscriminate collection of bric-a-brac thrust into a secondhand gun safe and pronounced “book art” by its creators and curators. This work takes a sizable step away from the paradigmatic, Eurocentric style of bookmaking. This book has obvious roots in both the Fluxus and Gesamtkunstwerk artistic styles wherein books are made to be interactive, exploratory, and incorporate a variety of media (Backstory). All books are interactive, but this piece engages the reader, or participant, through audio, tactile, visual, and olfactory components. Gomez Peña states the piece’s “interactive dimension may be its main contribution to the field of experimental book art, or rather ‘performative book art’” (DOC/UNDOC).

20151201_154828

The reader, to whom I will refer as one who interacts with this “book” from here on, may push buttons and turn knobs to hear commentary on the various items contained therein. Upon pushing these buttons, the reader hears Gomez Peña’s voice providing supplemental musings regarding each object in the box. The box contains mirrors surrounded by lights, in front of which the reader is encouraged by, Gomez Peña’s recorded utterances, to try on various wearable items such a stethoscope, sunglasses, and makeup.

The “book” is accompanied by videos of Gomez Peña’s provocative performance art. The reader sees Gomez Peña pretend to wield a loaded gun, cut his tongue and ears with scissors, place a hot iron on his chest, and make unintelligible sounds with a mouth full of ink which, according to Gomez Peña, sent him to the hospital. The piece also contains printed material with poetry arranged in a fresh format. The reader must scrupulously follow each word in each poem, as the preceding and succeeding words may be arranged in unusual, wave-like, patterns. There are a total of 15 printed monologues that are lyrical in nature and even contain acotaciones, or stage directions, to ensure each is read according to Gomez Peña’s penchant for performance art.

It is one thing to simply describe this piece, and it is quite another endeavor to try to explain what the piece means. The full title, DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, urges the reader to think about what it means to be documentado in Spanish and what is meant by the term “undocumented” in the U.S. The word “undocumented,” as it is used in the U.S., is politically charged and portrayed as inherently negative. The term is a symbol of racist stereotypes that robs immigrants of their true identity as members of the human family and is synonymous with powerlessness and a lack of human rights. In Gomez Peña’s poem, “What I chose not to do tonight,” the author states “when you cross the border it is as if your identity splits into two and one is permanently questioning the other” (What I chose not to do tonight). The text suggests that upon immigrating, one always possess two identities, an insider and an outsider, as both a documented citizen of one country and an undocumented citizen of another.

The author uses the terms colonial and colonized in his poems to explore this dichotomy of documented and undocumented identities. In one poem entitled “Flagrantly stupid acts of transgression,” the author describes giving an audience member a knife and asking her to cut his abdomen with it. The poem reads “’here… my colonized body,’ I said… and she went for it, inflicting on me my 45th scar, right her on my soul” (Flagrantly stupid acts of transgression). This speaks to the idea of being colonized by a dominant culture. The author insinuates that the U.S. harms immigrants through laws and economic dominance to maintain a distinction between the documented and undocumented.

This poem, and the entire piece, illustrates how undocumented persons are thought of as nameless, faceless, subjects of a colonial economy whose purpose is to suffer the misfortunes of supplying cheap labor to an empirical nation and not participate in it fully as citizens. Gomez Peña states that suffering, such as the suffering demonstrated in the poem, of migrants who “move from their proper place without documents is a direct consequence of a failed global project, but their suffering appears inconsequential. The fact that men, women, and children risk their lives by crossing the desert to escape violence and to make a few dollars to send back home remains insignificant” (On immigration 1). The interactive contents of this piece help to bring significance to the professedly insignificant acts of immigrants.

The objects in the case serve to give prominence to the seemingly unimportant objects that represent aspects of Hispanic/Latino life that contribute to the identity of the undocumented. There are hot sauce packets, Catholic trinkets of Virgins, a lucha libre mask, a colmillo de coyote, oils, obsidian stones, and countless other objects. Each object must carry some personal meaning to one or more person involved in the creation of the piece. These objects may have significance to a wide audience of Hispanic/Latino readers. This could serve to illustrate the fact that there are many parts of one’s life that go undocumented (Commentary). There are elements of identity and worth that are not recorded in the U.S. Citizenship and Immigration Services department.

The packaging of this piece is important also. It’s significant that so much content, such as videos, printed poems, artwork, reliquaries, sounds, tastes, and smells, are concealed within a relatively nondescript box. The box is metallic, cold, and has sharp corners and edges. The only writing on the exterior is: “Documentado Undocumented.” A parallel could be drawn between this and the lives of undocumented persons in the U.S. Labels are powerful in that they mask one’s true identity. Superficially, all that government, or law enforcement agencies, can perceive when they view the Hispanic/Latino population is whether or not they are legal citizens. In actuality, within the cold, metallic container projected on them by stereotypes and sociocultural norms, there is much more to be discovered. Within the box, awaits a world of exploration, emotion, worth, and identity regardless of the label on the box. Guillermo Gomez Peña, Jennifer González and Felicia Rice have successfully pulled off the creation of an intimate medium of expressing these important themes of citizenship, identity, colonization, and cultural disparity through this piece.

“Backstory.” DOCUNDOC. 6 July 2014. Web. 17 Dec. 2015 <http://docundoc.com/2014/07/02/what-i-chose/>.
“Doc/Undoc | Art | UC Santa Cruz.” Doc/Undoc | Art | UC Santa Cruz. Web. 17 Dec. 2015.
“What I chose not to do tonight.” DOCUNDOC. 2 July 2014. Web. 17 Dec. 2015. <http://docundoc.com/2014/07/02/what-i-chose/>.
“On immigration 1.” DOCUNDOC. 2 July 2014. Web. 17 Dec. 2015. http://docundoc.com/2004/02/22/on-immigration-1/>.
“Commentary.” DOCUNDOC. 2 July 2014. Web. 17 Dec. 2015.http://docundoc.com/2014/06/06/commentary/>.

Coming soon: Response from Peter Tanner

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