A SCHOLARLY BOOK REPOSITORY
Some of the books, such as those from the libraries of Philip the Good and Anne of Brittany, are beautifully illuminated. But the collection also includes an unusual array of "typical" medieval books, chosen not for their beauty but for their paleographical, codicological, and textual interest. Such codices include an eleventh-century Carthusian monk, and numerous books of hours adapted for feminine use. Paul Saenger has painstakingly identified the text, illumination, physical structure, and provenance for each of the more than 200 books in the collection to provide an exemplary guide to literate culture in the late Middle Ages.
This catalogue, carefully researched and handsomely illustrated, will be an invaluable resource for historians, art historians, paleographers, bibliographers, and collectors.
- come to understand what is meant by disability and why libraries have obligations to support disabled users;
- learn about a wide range of software and hardware for creating inclusive spaces and services regardless of your budget limitations or staffing levels;
- get comfortable with the overarching principles of online accessibility and how they specifically apply to library websites, digital media and files, digital communications, and emerging technologies such as augmented reality, virtual reality, and artificial intelligence (AI);
- discover how libraries can verify the accessibility of the tools they develop or subscribe to, including best practices for working with vendors to optimize the accessibility of their library products;
- be invited to reflect upon the future of digital accessibility, particularly concerning education and hiring to ensure that accessibility remains central to the work done at all libraries.
Creativity needs a platform. As technology consultant David Weinberger puts it, “A platform provides resources that lets other people build things.” The library is an ideal platform, and in this book Batykefer and Damon-Moore, creators of the Library as Incubator Project, share the experiences of numerous creative library workers and artists who are making it happen. Their stories will show you how to move beyond merely responding to community needs towards actively building a platform with your community. And best of all, you don’t need to start from scratch—rather, you amplify what’s already working. Filled with ideas and initiatives that can be customized to suit your library and its community, this book
- discusses the four elements (Resources, Invitations, Partnerships & Engagement, and Staff) and the two lenses (Community-Led and Evaluation) of the Creative Library platform;
- outlines six steps for surveying your community’s artistic landscape;
- gives methods for expanding partnerships and connections with individuals and organizations through exploration, hands-on learning, and engagement with the community;
- shares perspectives on the “ideal library” from several artists, with three examples of artist-in-residence programs;
- offers examples of community invitations in action, such as the Pittsburgh Fiberarts Guild workshops on creating flowers using recycled materials;
- shows how to use “orphan photos” from your archives for creative inspiration;
- advises on using qualitative evaluations to effectively “weed” your initiatives; and
- shares tips for encouraging library staff to express their creativity, turning avocations into library initiatives like Handmade Crafternoons, the Yahara Music Library, or BOOKLESS.
By building on existing elements at your library and filling in the gaps with community-driven additions, your library can be a space that cultivates creativity in both its users and staff.
Medieval scholars imagined the library as a microcosm of the world, but as novel early modern ways of managing information facilitated empire in both the New and Old Worlds, the world became a projection of the library. In The Librarian’s Atlas, Seth Kimmel offers a sweeping material history of how the desire to catalog books coincided in the sixteenth and seventeenth centuries with the aspiration to control territory. Through a careful study of library culture in Spain and Morocco—close readings of catalogs, marginalia, indexes, commentaries, and maps—Kimmel reveals how the booklover’s dream of a comprehensive and well-organized library shaped an expanded sense of the world itself.
Founded in 1921, the Nettie Lee Benson Latin American Collection at the University of Texas at Austin has become one of the world’s great libraries for the study of Latin America, as well as the largest university library collection of Latin American materials in the United States. Encompassing all areas of the Western Hemisphere that were ever part of the Spanish or Portuguese empires, the Benson Collection documents Latin American history and culture from the first European contacts to the current activities of Latinas/os in the United States. Scholars, students, and members of the public from around the world regularly use the multifaceted, multimedia resources of the Benson.
Showcasing the incredible depth, diversity, and history of the Benson Collection, A Library for the Americas presents rare books and manuscripts, maps, photographs, music, oral histories, art and objects dating from the early 1500s to the present. Images of and captions for these materials are paired with a series of essays and reflections by distinguished scholars of Latin American and Latina/o studies, who describe the role that the Benson Collection has played in the research and intellectual contributions that have defined their careers. As a whole, the book celebrates the remarkable place for learning that is the Benson Collection, while not shying away from larger questions about what it means to have a monumental library and archive devoted to Latin America in the United States.
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