GLAM meeting agenda: 6th October, Hull History Centre

Please see below for details of our next meeting:

GLAM Programme 6th October 2017

The meeting will be at Hull History Centre. Information on how to find the venue is also in the agenda document.

We look forward to seeing you there!

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‘Power – For my angel poet-friend’: The Papers of Elaine Feinstein | John Rylands Library Special Collections Blog

‘Power – For my angel poet-friend’: The Papers of Elaine Feinstein

Source: ‘Power – For my angel poet-friend’: The Papers of Elaine Feinstein | John Rylands Library Special Collections Blog

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‘European connections in Literary collections’ GLAM Meeting, 6th October

The Next GLAM meeting will be held on 6th October at Hull History Centre, from 11:45-4:30. The theme will be ‘European connections in Literary collections’, further details to follow…

 

 
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‘After the Digital Revolution’ workshop call for papers

Are you interested in born-digital records in literary and publishers’ archives? If so, send Dr Lise Jaillant a proposal for the first workshop of “After the Digital Revolution,” funded by a British Academy Rising Star Engagement Award.

The workshop will be at the John Rylands Library, Manchester (14-15 Sept. 2017).

Workshop Highlights:
• Internationally-recognised experts, including David McKnight (Director of Special Collections, University of Pennsylvania)
• Skype talk by Matthew Kirschenbaum (University of Maryland)
• Networking opportunities, including reception in the sumptuous John Rylands Library

For more information, see: http://www.afterthedigitalrevolution.com/

Contact: l.jaillant@gmail.com

Dr Lise Jaillant | Lecturer (Assistant Professor)
School of the Arts, English and Drama | Loughborough University, UK

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GLAM Meeting and BGM: March 27th 2017

Please see here for details of our next GLAM meeting and BGM to be held at the V&A – details of how to find the venue are also in the agenda document.

We look forward to seeing you there!

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Next GLAM Meeting: March 2017

The next GLAM meeting will be taking place at the V&A Blythe House London on Monday 27th March (11:45-4:30). Details of the programme, the theme of which is literary collections in museums, are being finalised and will be shared shortly!

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Second Call for Papers: ‘Archival Afterlives’: Postwar Poetry in English, John Rylands Research Institute Conference, June 2017

The John Rylands Research Institute invites proposals for its 2017 conference on modern literary archives. Reflecting the strengths of the Special Collections at the John Rylands Library, the conference will focus in particular on archives related to postwar poetry in English.

‘Archival Afterlives’ will provide a forum for academic researchers, postgraduate students, curators, archivists, as well as poets to discuss their relationship with archival material, whether it be through creating, collecting or donating archives, or through using archival and material culture for inspiration, learning or research. The conference also takes place as part of a wider programme of activities at the John Rylands Research Institute and Library to facilitate the study of the holdings in modern and contemporary literature.

Submissions from researchers at any stage of their career, as well as from curators and archivists are welcome.

Proposals for 15-minute papers (250 words + affiliation) or panels should be submitted using the abstract submission form, and sent as attachments to jrri.conference2017@manchester.ac.uk by 20th February 2017.

Please visit the conference website for further information.

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‘The first of rural bards’: Robert Bloomfield in Cambridge University Library

Robert Bloomfield

Robert Bloomfield (1766–1823), from a print of 1823. CUL CCA.34.16(17)

The poet Robert Bloomfield, author of The farmer’s boy, was born in Suffolk two hundred and fifty years ago, in December 1766. Of humble parentage, he worked briefly as a labourer on a nearby farm before moving to London to take up the trade of cobbler. The success of The farmer’s boy, a poem of some 1,500 lines describing the countryside and agricultural life through the seasons of the year, brought Bloomfield an intense though temporary celebrity, and a lasting reputation as one of the most significant of the uneducated rustic poets of the English tradition. John Clare, nowadays by far the more famous of the two, called Bloomfield ‘the first of Rural Bards’.

To mark the anniversary of his birth, a new exhibition in the Cambridge University Library’s Entrance Hall celebrates Bloomfield’s achievements as represented by his own writings and by works of art and music inspired by them. It draws on the Library’s Special Collections, including manuscript verse and autograph correspondence, and benefits from the acquisition in 1984 of the Bloomfield collection assembled by Robert F. Ashby (exhibits with CCA–CCE.34 classmarks).

The exhibition opens with an apparently unpublished manuscript memoir of Bloomfield, written by Walter Bloomfield, the son of the poet’s last surviving nephew; in an introductory letter the author declares that ‘the major portion of it contains information which must be new to everybody unconnected with my family’. The text is prefaced by a pedigree showing, among other things, Robert Bloomfield’s relationship to Charles James Blomfield (1786–1857), bishop of London.

Bloomfield worked on his masterpiece, The farmer’s boy, between May 1796 and April 1798. He composed most of the poem at his cobbler’s bench, keeping long sections in his head before they were written down: he chose rhyme because he found it easier to memorise than blank verse. The poem was championed by the Suffolk squire and radical editor Capel Lofft, and through his influence it was published in 1800. A copy of the first edition is on display. Following the success of The farmer’s boy many engraved portraits of Bloomfield appeared, often serving as frontispieces to editions of his works; the example in the exhibition, and shown above, engraved by Thomas Woolnoth (1785–1857) after Thomas Charles Wageman (1787–1863), appeared in the Ladies’ monthly museum and is unusual in setting Bloomfield against the backdrop of a rustic landscape.

Several settings of Bloomfield’s verse to music are known, most of them dating from his lifetime or shortly afterwards. The exhibition includes a setting of ‘Rosy Hannah’ by his elder brother Isaac (1762–1811), printed on paper watermarked 1801, which may have appeared before the poem was included in Bloomfield’s second collection, Rural tales, ballads, and songs, in 1802.

One of Bloomfield’s most popular poems, ‘The Fakenham ghost’, a humorous ballad ‘founded on a fact’ telling the story of an elderly woman who, walking home at night and fearing pursuit by supernatural terrors, discovers that she has been followed to her door by an ass’s foal, is represented in both manuscript and print. The manuscript appears to be a fair copy in the poet’s own hand; it is much more lightly punctuated than the published versions, and differs from them in some wordings. First collected in Rural tales, the poem was afterwards reprinted separately both in illustrated editions and in musical settings, and a broadsheet which is the earliest recorded illustrated version is on display. The unsigned plate follows the poem closely in details such as the hillside copse, the grazing deer, and the park gate, but makes no attempt to render the nocturnal setting.

Although associated through his poetry with Suffolk, Bloomfield spent little of his adult life there, and in his later years, which were marked by illness and financial difficulties, he lived in the small Bedfordshire town of Shefford. A handwritten letter on show, sent from Shefford to a Mr May less than a year before Bloomfield’s death, appears to refer to a possible reprinting of Nature’s music, his 1808 prose treatise on the Aeolian harp.

There are also posthumous publications on display, charting Bloomfield’s continuing appeal to later generations. Illustrated editions of Bloomfield’s verse appeared throughout the nineteenth century, and the 1857 first printing of the Routledge ‘complete’ edition of his works with engravings by Myles Birket Foster (1825–1899), which was reissued at least five times over the following thirty years, can be seen. A colourful edition of The horkey: a ballad, with illustrations by George Cruikshank, was published by Macmillan and Co. in 1882; ‘Horkey’ was a term for the harvest home feast current in the East of England. Bloomfield’s poem, subtitled ‘a provincial ballad’ when first printed in 1806, describes customs particularly associated with Suffolk harvest festivities, and which he believed were ‘going fast out of use’, and incorporates a number of East Anglian dialect terms. The exhibition finishes with a diminutive pamphlet edition of Bloomfield’s The drunken father, published around 1880 in aid of the temperance movement, with a preface by Walter Bloomfield, the poet’s kinsman and author of the manuscript memoir which opens the exhibition.

‘“The first of rural bards”: Robert Bloomfield (1766–1823) in word, music and image’ runs at Cambridge University Library until Saturday 14 January 2017 (closed Sundays and 24 December–2 January inclusive) during normal Library opening hours. For further information contact John Wells (e-mail: jdw1000[at]cam.ac.uk, telephone: 01223 333055).

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CALL FOR PAPERS: ‘Archival Afterlives’: Postwar Poetry in English, John Rylands Research Institute Conference, June 2017

 

The John Rylands Research Institute invites proposals for its 2017 conference on modern literary archives. Reflecting the strengths of the Special Collections at the John Rylands Library, the conference will focus in particular on archives related to postwar poetry in English.

‘Archival Afterlives’ will provide a forum for academic researchers, postgraduate students, curators, archivists, as well as poets to discuss their relationship with archival material, whether it be through creating, collecting or donating archives, or through using archival and material culture for inspiration, learning or research. The conference also takes place as part of a wider programme of activities at the John Rylands Research Institute and Library to facilitate the study of the holdings in modern and contemporary literature.

Submissions from researchers at any stage of their career, as well as from curators and archivists are welcome.

Proposals for 15-minute papers (250 words + affiliation) or panels should be submitted using the abstract submission form, and sent as attachments to jrri.conference2017@manchester.ac.uk by 15 January 2017.

Please visit the conference website for further information.

 

 

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Second Call for Papers – Archives and Records journal – special issue on ‘Archives and Museums’, spring 2018

 The traditional boundaries of the archival and curatorial professions are today beginning to crumble as archivists and curators increasingly become responsible for all aspects of heritage, be it textual, visual, cultural, built or material heritage. Both professions are currently debating how their traditional roles are now evolving and being challenged in the ever-changing heritage landscape. The need for cross-domain understanding and collaboration becomes more apparent, as the defining lines between archive and museum collections become more blurred.
 
These and other recent trends pose numerous questions about the intersection of archives and museums. For example:
  •  What are the commonalities and divergences between archival theory and material culture theory, and how can these inform professional practice on both sides?
  • What is the professional impact of the recent divergence of government strategy and funding for archives and museums?
  • How have archivists and curators developed historically as two different professions?
  • How are the traditional roles and skillsets of the archivist/curator and their areas of expertise being challenged into the 21st century?
  • How is digital technology changing the way that archive and museum professionals interact with archive and object collections and with each other?
  • How can archive and museum ‘best practice’ in collections management, cataloguing, accessibility and interpretation be shared, rethought and improved?
 This special issue of Archives and Records seeks to explore approaches to archives and museums taken from a wide range of disciplines. The issue aims to provide a space for encounters between researcher and practitioner discourses, and to encourage the fertile cross-pollination of ideas from archivists, curators, educators, users and scholars.
We invite papers on any aspect of archives and museums. Contributions might consider, but need not be confined to, the following themes:
  •  The archivist and the museum professional
  • Training and CPD
  • Collections management, standards and best practice
  • Definitions of objects, archives and ephemera
  • Material culture and archival theory
  • Cross-sectoral and cross-domain working in the culture and heritage industries
  • The impact of the digital world on archives and museums
Further details
The full Call For Papers is available at the homepage of the journal:
 
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