Archives and Public History Digital

All,

There’s a great article today in /Inside Higher Ed/ on a symposium
called “Platforms for Public Scholars” by the always intelligent and
remarkable Scott McLemee. Sample quotation: “The public library is an
institution that nobody would be able to start now. A place where you
can read brand-new books and magazines for free? The intellectual
property lawyers would be suing before you finished the thought. So
while musing on collaborative and civic-minded research, it is worth
remembering the actually existing public infrastructure that is still
around. Strengthening that infrastructure needs to be a priority for
public scholarship.”

Special note to Creating Digital History students: digital archives are
mentioned as examples of public scholarship, and the organizer of the
symposium said talking about “We definitely want to produce a online
bibliography but maybe trying to use the Zotero exhibition approach there.”

Highly recommended. http://www.insidehighered.com/views/mclemee/mclemee263

Amanda

–
Amanda L. French, Ph.D.
Assistant Research Scholar, Digital Curriculum Specialist
Archives and Public History
New York University
King Juan Carlos Center
53 Washington Square South #507
New York, NY 10012

TEL: 212-998-8638
FAX: 212-995-4017
AIM: habitrailgirl
amanda.french@nyu.edu

http://amandafrench.net

http://twitter.com/amandafrench

Public Scholarship and American Studies Conference at Rutgers University
Location: New Jersey, United States
Call for Papers Deadline: 2009-10-18 (in 9 days)
Date Submitted: 2009-09-24
Announcement ID: 170840
The Graduate Program in American Studies and the Rutgers American Studies Student Association at Rutgers-Newark invite proposals for panels, papers, roundtable discussions, workshops, screenings and multimedia presentations that illuminate the theme of “Public Scholarship and American Studies,” a conference to be held on our campus on Saturday, April 10, 2010 from 10am to 4pm.

Our conference will present and analyze public scholarship in light of multiple questions and perspectives. What is public scholarship? What is the place of the public in public scholarship? Who gets to speak as a scholar? What are the relationships among public scholarship and performance, artistic production and political activism? What are the local, metropolitan, national and transnational dynamics of public scholarship? How can local institutions, from museums to libraries to community organizations to houses of worship, become centers of public scholarship? How does the Web offer new venues and understandings of public scholarship?

What distinguishes public scholarship produced in the spirit of American Studies? What special challenges emerge when public scholarship engages contemporary issues or the distant past? How does public scholarship relate to the many fields that contribute to American Studies, such as history, the arts, literature, ethnic studies, women’s studies, gender studies, African American studies, performance studies, Asian Studies, Latino/a Studies, queer studies, jazz studies, folklore, social sciences, cultural studies, political science, urban studies and oral history? How do these fields influence our understanding of public scholarship and American Studies? “Public Scholarship and American Studies” will embrace topics and questions that arise from local, national and transnational experiences. How do contemporary questions shape public scholarship? How do inheritances from the past influence public scholarship today? What is the role of public scholarship in sharply polarized pu
blic debates? What is its role in issues where there seems to be a consensus?

The conference also seeks to explore critical issues that particularly influence public scholarship. What are the tensions among commemoration, documentation, and analysis in public scholarship? How do funding sources influence museum exhibits? Who owns history? Is censorship a threat to public scholarship? What happens when cultural or historical tourism becomes part of economic development strategies?

We welcome presentations from all who share our interest in public scholarship, American culture and American Studies, such as professors, graduate students, independent scholars, artists, museum curators, librarians, archivists, educators, multimedia producers, and documentarians.

All submissions are due by Sunday, October 18, 2009.

Please complete the submission template located on our website: http://www.rutgerspublicscholarship.org/submission

Whatever the format of your proposed session, we will give preference to fully organized sessions that do not require the addition of moderators, commentators or presenters.

Our AV resources are limited. We will honor technology requests in the order they are received.

FREE REGISTRATION. Coffee, snacks and lunch will be served.

The Rutgers-Newark campus is conveniently located within a 10-15 minute walk of the Newark Penn Station, and is easily accessible by bus, car, and train from throughout the New Jersey/New York metropolitan area: http://www.newark.rutgers.edu/maps/
info@rutgerspublicscholarship.org
Email: info@rutgerspublicscholarship.org
Visit the website at http://rutgerspublicscholarship.org

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

Hey friends,

“Herb and Dorothy,” a wonderful documentary about two contemporary art collectors is playing on PBS’ “Independent Lens” tonight at 10 and is really worth a watch. They crammed something like 10,000 works of art into a one-bedroom apartment.

“He was a postal clerk. She was a librarian. With modest means, this couple managed to build one of the most important modern art collections in history. Meet Herbert and Dorothy Vogel, whose shared passion and commitment defied stereotypes and redefined what it means to be an art collector.”

Check your local listings at:

http://www.pbs.org/independentlens/broadcast.html

DYLAN

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

http://www.nytimes.com/2009/10/09/arts/design/09lincoln.html?_r=1&emc=eta1

October 9, 2009
Exhibition Review | ‘Lincoln and New York’
When Honest Abe Met This Querulous Metropolis
By EDWARD ROTHSTEIN

When Abraham Lincoln visited New York in February 1861, Walt Whitmannoticed that an “ominous silence” greeted the president-elect as he arrived at the Astor House hotel. There was no overt hostility or shouted insult, Whitman wrote, but the “silence of the crowd was very significant,” compared with the “wild, tumultuous hurrahs” that typically greeted distinguished personages.

Harold Holzer, the chief historian for the compellingly informative exhibition “Lincoln and New York,” opening on Friday at the New-York Historical Society, explains in the equally incisive companion catalog that when Lincoln attended a performance of Verdi’s new opera “Un Ballo in Maschera” on that visit, he received a thundering ovation from the audience at the Academy of Music. But he left before the final scene in which the governor of Colonial Boston is assassinated by conspirators. That might have been because of fatigue, Mr. Holzer suggests, but The New-York Herald reported that the police had received notice of a plot to kill Lincoln at the same moment as the onstage murder.

These fragments of history are powerful not just because of their ominous foreshadowing of the conspiracies and hatreds that Lincoln would later inspire, but also because they shock our contemporary complacency about how we make sense of our city and its past. We New Yorkers tend to be almost provincial in our pride, as if we could prove that the city had always been on the right side of history, or at least at its very center.

But look more closely, as the Historical Society has been doing under the presidency of Louise Mirrer, and matters become more complicated. Richard Rabinowitz, a historian and the president of the American History Workshop, a Brooklyn company that designs museum exhibitions, was the curator of two major shows in recent years that focused on New York’s relationship to slavery and the Civil War. Much of the city’s commerce depended on the Southern slave trade, those exhibitions pointed out, and while New York had a “determined antislavery movement” in the mid-19th century, it was also a “hotbed of pro-slavery politics.”

In the new show Mr. Rabinowitz again makes it impossible to be too sanguine about New York’s past, demonstrating that however beloved Lincoln became, it was not until after his assassination, when 150,000 mourners stretched almost a mile up Broadway to see him lie in state at City Hall, that there was anything resembling a hallowed consensus in New York. Lincoln lost presidential elections in the city by substantial margins in 1860 and 1864; the 1862 midterm state elections also served as a rebuke, making a fervent opponent, the Democrat Horatio Seymour, New York’s governor.

The exhibition begins with a telegram inviting Lincoln to lecture in New York — a talk that became a two-hour oration in February 1860 at the Cooper Union(the podium he used is here) — and closes with a wall containing Whitman’s great elegy “When Lilacs Last in the Dooryard Bloom’d.” But in between lies the fracas. In political cartoons, early photographs, handwritten documents, touch-screen displays and artifacts, we see New York’s version of the Civil War being fought using words, ideas, images and, at least during the 1863 Draft Riots, a fair amount of blood, with Lincoln as the battles’ nexus.

Lincoln’s distinguished Cooper Union speech, for example, in which he suggested that disapproval of slavery was inscribed in the Constitution and that the practice should be strictly contained, was hailed by Horace Greeley, the editor in chief of The New-York Tribune, which also distributed copies of the speech: “No man ever before made such an impression on his first appeal to a New-York audience.” But the Democratically aligned New-York Herald described it as “unmitigated trash, interlarded with coarse and clumsy jokes.”

This was the kind of polarized opinion that characterized New York as a news media center, with its 174 daily and weekly publications wielding substantial influence: The Herald had a circulation of 100,000, The New-York Times 75,000 and Harper’s Weekly 120,000. Most publications had highly partisan allegiances; a display here charts their temperaments. The Leader, The Express and The Daily News shared Democratic opposition to Lincoln, but he found support from Greeley’s Tribune, along with The Times and its founder, Henry Raymond, who was chairman of the Republican National Committee .

This tumult, though, might have aided Lincoln’s national standing. The exhibition argues that his success as a candidate could not have been achieved without the influence of New York and its news media, which even, perhaps, helped him carry New York State with its prized 35 electoral votes. Moreover, Lincoln, in a savvy move during his 1860 visit, sat for a photographic portrait at Mathew Brady’s studio. Brady knew precisely how to frame Lincoln, the supposedly rural rail splitter, posing him with his hand resting on two well-read tomes atop a classical pillar. That photograph, the show points out, was copied and spread, reshaping Lincoln’s popular image as a “dignified public figure.”

But if that portrait was triumphant, everything else was contested. Lincoln’s supporters formed an organization, the Wide Awakes, with its own paramilitary uniforms and songs. In 1860 30,000 Wide Awakes marched in a five-hour torchlight parade through New York City streets; one of their torches, amazingly, is on display here. But the same number of marchers gathered in 1863 for a demonstration against Lincoln and his policies.

This exhibition steers deftly in these churning waters, pointing out that even allies had differing shades of opinion. Lincoln’s advocates became known as the Loyalists and are portrayed in an image as if seated at an upper-crust dining room table, paying homage to a strong central Union. They included George Templeton Strong and Frederick Law Olmsted (who opposed slavery and lobbied for a federal military draft). But Loyalists did not necessarily affirm Lincoln’s views; some based their advocacy of the Union not on ideals of democratic liberty, but on claims of divine legitimacy.

The Loyalists also seem a bit more inclusive here than they might have been; even Frederick Douglass is seated at their table. But their influence should not be underestimated. They gave birth to the Union League Club in New York, which haltingly advanced black interests in the Union cause, recruiting and financing a black militia in November 1863. (A painting here commemorates the Union Square send-off of the Colored Regiment.)

There is less complexity here in the portrait of the Democratic Copperheads, who are shown at a tavern, perhaps because one of their leaders, Fernando Wood, was a bar owner before he became mayor of New York. But the Copperheads also included wealthy merchants who saw their fortunes threatened by the end of trade with the South, as well as ardent defenders of slavery, like Samuel F. B. Morse.

One of the most fascinating artifacts here is a book Lincoln owned of satirical limericks attacking these opponents. (“There once was a Copperhead vile…”) A touch screen allows you to read every page.

By 1863, the exhibition shows, there was a full-fledged propaganda war, as opposing organizations published pamphlets and staged demonstrations, disputing the prosecution of the war, Lincoln’s suspension of habeas corpus and the growing powers of the federal government. Morse declared for the Copperheads, “It may be necessary to destroy the Administration in order to preserve the Government.” Henry Bellows for the Loyalists called support of Lincoln “the first and most sacred duty of loyal citizens.”

But in July 1863, that war of words turned bloody. A telegram from the Republican financier John Jay to Lincoln announced, “Our City is at the mercy of a mob.” In four days of riots, partly inspired by opposition to military conscription and its exemptions for the wealthy, looting and destruction were aimed not only at Republicans like Greeley but also at black New Yorkers. The Colored Orphan Asylum was pillaged and burned, and the Colored Sailors’ Home was attacked. An order from Lincoln (displayed here), following close on the heels of the battle at Gettysburg, declared martial law.

Calm was restored, but with 120 dead and 2,000 injured, the exhibition notes, it was “the worst civil disorder in the nation’s history — except for the Civil War itself.”

Lincoln received only 33 percent of the city’s vote for president in 1864, though he carried New York State. Nothing ended the civil and uncivil battles over his reputation like his death. A display here shows the text of sermons in the week that followed.

And on the day of his assassination an anonymous diarist filled a remarkable book with drawings of the texts, signs and banners he saw posted in New York’s storefronts, fire stations and homes (a touch screen allows you to leaf through the book): “Such a death saddens even victory,” reads one. “Our country weeps,” read another. “In God we trust.”

There were other shifts to come in the president’s image, briefly hinted at in closing displays, but the strange thing about this rich and suggestive exhibition is that even though it is centered on Lincoln, it reveals much more about the city. New York’s virtue was not in being on the right side of history, but in being a hothouse of passionately held beliefs and ardently argued convictions. And ultimately, the city’s developing sense of itself as a microcosm of the Union did not arise out of uniformity and agreement, but out of disagreement, difference and, finally, deference.

“Lincoln and New York” continues through March 25 at the New-York Historical Society, 170 Central Park West, near 77th Street; (212) 873-3400, nyhistory.org.

–
Richard Rabinowitz
American History Workshop Mobile
588 Seventh Street
Brooklyn NY 11215

ph: 718/499-6500
fax: 718/499-6575

http://www.americanhistoryworkshop.com

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

All,

You might be interested in this Call for Papers for the Digital
Humanities annual conference; the theme is cultural heritage, the
conference will be held in London July 7-10 2010, and proposals are due
(rather precipitously) on October 31.

Cheers,

Amanda

****

We are pleased to announce the Call for Papers for the Digital
Humanities 2010 Conference.

Alliance of Digital Humanities Organizations Digital Humanities 2010
Call for Papers Abstract Deadline: Oct. 31, 2009

Proposals must be submitted electronically using the system which will
be available at the conference web site from October 8th. Presentations
may be any of the following:

•Single papers (abstract max of 1500 words) •
Multiple paper sessions (overview max of 500 words) •
Posters (abstract max of 1500 words)

Call for Papers Announcement

The International Programme Committee invites submissions of abstracts
of between 750 and 1500 words on any aspect of humanities computing,
broadly defined to encompass the common ground between information
technology and problems in humanities research and teaching. We welcome
submissions in all areas of the humanities, particularly
interdisciplinary work. We especially encourage submissions on the
current state of the art in humanities computing, and on recent
developments.

Suitable subjects for proposals include, for example,

* text analysis, corpora, language processing, language learning
* IT in librarianship and documentation
* computer-based research in cultural and historical studies
* computing applications for the arts, architecture and music
* research issues such as: information design and modelling; the
cultural impact of the new media
* the role of digital humanities in academic curricula

The special theme of the 2010 conference is cultural heritage old and new.

The range of topics covered is reflected in the journals of the
associations: Literary and Linguistic Computing (LLC), Oxford University
Press, and the Digital Humanities Quarterly,

http://www.digitalhumanities.org/dhq/

The deadline for submitting paper, session and poster proposals to the
Programme Committee is Oct. 31th, 2009. All submissions will be
refereed. Presenters will be notified of acceptance February 24, 2010.
The electronic submission form will be available at the conference site
from October 8th, 2009 (which will be linked from

http://www.cch.kcl.ac.uk/dh2010/papers/call.html)

Anyone who has previously used the ConfTool system to submit proposals
or reviews or to register for a Digital Humanities conference should use
their existing account rather than setting up a new one.

If anyone has forgotten their user name and/or password please contact
dh2010 at digitalhumanities.org.

See below for full details on submitting proposals.

Proposals for (non-refereed, or vendor) demos and for pre-conference
tutorials and workshops should be made to the local conference organizer
as early as possible.

For more information on the conference in general please visit the
DH2010 web site. http://www.cch.kcl.ac.uk/dh2010/

Types of Proposals

Proposals to the Programme Committee may be of three types: (1) papers,
(2) poster presentations and/or software demonstrations, and (3)
sessions (either three-paper or panel sessions). The type of submission
must be specified in the proposal.

Papers and posters may be given in English, French, German, Italian or
Spanish.

1) Papers Proposals for papers (750-1500 words) should describe
original, unpublished work: preferably completed research with
substantial results, but also the development of significant new
methodologies, or rigorous theoretical or critical discussions.
Individual papers have 20 min. for presentation and 10 for questions.

Proposals concerning new computing methodologies should show how the
methodologies are applied to humanities research, and should critically
assess the application. Those concerning a particular application should
compare earlier traditional and computational approaches and should also
assess the new methodologies. References are naturally required. Those
describing the creation or use of digital resources should follow these
guidelines as far as possible.

2) Poster Presentations and Software Demonstrations Poster sessions
showcase some of the most important and innovative work being done in
humanities computing. Poster presentations may include technology and
project demonstrations. Hence the term poster/demo to refer to different
possible combinations of printed and computer based presentations. There
should be no difference in quality between poster/demo presentations and
papers, and the format for proposals is the same for both. The same
academic standards also apply, but posters/demos may be more suitable
way for late-breaking work, or work in progress. Both will be submitted
to the same refereeing process. The choice between the two modes of
presentation (poster/demo or paper) should depend on the most effective
and informative way of communicating the scientific content of the proposal.

Poster presentations are less formal and more interactive than talks.
Poster presenters can present their work and exchange ideas one-on-one
and in detail with those most deeply interested. Presenters will have
about two square meters of board space for display and may also wish to
provide handouts. Posters remain on display throughout the conference,
and are the sole focus of separate dedicated poster sessions. Additional
times may be available for software or project demonstrations.

As an acknowledgement of the special contribution of the posters to the
conference, the Programme Committee will award a prize for the best poster.

3) Sessions Sessions (90 minutes) take the form of either:

Three papers. The proposal should include a 500-word statement
describing the session topic, include abstracts of 750-1500 words for
each paper, and indicate that each author is willing to participate in
the session. All speakers are required to register for the conference
and to participate in the session. Focused sessions should have added
value when compared to the set of the individual papers.

or

A panel of four to six speakers. The proposal is an abstract of 750-1500
words describing the panel topic, how discussion will be organized, the
names and affiliations of all the speakers, and an indication that each
speaker is willing to participate in the session. All speakers are
required to register for the conference and to participate in the session.

International Programme Committee

Elisabeth Burr Richard Cunningham Jan-Christoph Meister Elli Mylonas
Brent Nelson John Nerbonne (Chair) Bethany Noviskie Jan Rybicki John Walsh

– Digital Humanities 2010 https://secure.digitalhumanities.org/

Update 11/3/09: Be sure to check out Andrea’s Culper Spy Ring website, which she built as part of an independent study for the program.

Congratulations to Andrea Meyer, who recently co-authored a fascinating article on the Culper Spy Ring that has been published in the New York State Archives magazine. The article is an outgrowth of research that Andrea has been conducting for the past several years on Long Island and Westchester County spies during the American Revolution. Follow the link below and enjoy the article. Go Andrea!

http://www.archives.nysed.gov/apt/magazine/archivesmag_fall09_000.pdf

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

Dear Professor Wosh,
I am an active member of SAA and actually went to the session you participated in during this last meeting in Austin. Very interesting, indeed! Currently, I am the archivist of the Feminist Theory Papers at Brown University and a PhD student at Simmons. My purpose for writing is to ask if you have any graduate students currently working on issues of race, ethnicity, and diversity in the archives. The work could be focused around access, appraisal, filling in the “gaps,” theory, etc. If you do have such students, could you please have them contact me? We are looking for a possible participant in a winter colloquium entitled, “The Archives: In the Age of ‘Post-Feminism’, ‘Post-Race’, and ‘Post-Theory’. Thank you for your time.
Sincerely,
Amy

Amy Greer
Archivist of the Feminist Theory Papers
The Pembroke Center
Brown University
Box 1958
Providence, RI 02912
(401) 863-6268

Manuscript Librarian
Brown Family Papers
Brown University
(401) 863-2148

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

Workshop Title: Accessing Oral Histories

Workshop Description:

Oral historian Alessandro Portelli states that “[oral] sources are oral sources… The tone and volume range and the rhythm of popular speech carry implicit meaning and social connotations which are not reproducible in writing.”[1] In managing oral history programs, archivists often face the challenge of providing researchers with access to the oral source (actual audio/video document) instead of only to its transcript. The audio-visual aspect of an oral history collection becomes an increasingly pressing priority as issues arise in preserving analog media. The continual advancement of tools for digitizing collections is giving way to new user accessibility, and subsequently, archivists are finding exciting potential for renewed scholarly and public interest in oral histories.

Join the Brooklyn Historical Society Oral History Program Coordinator Sady Sullivan on Thursday, November 19th, for a workshop exploring the frontier of digital access to oral histories. Discussion topics will include cataloging tools (Past Perfect, OMEKA, and more), digitization of collections (born-digital and digitized oral histories), types of online access (databases, podcasts), and fantasy future audio-searching software.

****

The Brooklyn Historical Society oral history collection began in 1973 with the Puerto Rican Oral History Project: 69 interviews with Brooklyn residents who migrated from Puerto Rico via steamship between 1917 and 1940. Today, the BHS oral history collection contains interviews with over 300 narrators, and soon, all of these interviews will be accessible to listeners in the Othmer Library and also available in a selection online.

BHS Oral History Highlights: http://brooklynhistory.org/blog/tag/oral-history-highlights/

Find samples from Brooklyn Historical Society’s Oral History Collection on iTunes.

Instructor: Sady Sullivan

Sady Sullivan is coordinator of the Oral History Program at the Brooklyn Historical Society. Since 2006, she has led five oral history projects and conducted life history interviews with over 150 people, as well as trained and overseen the work of other interviewers helping to build BHS’s oral history collection. In addition, she manages the digitization of BHS’s legacy oral histories – 11 projects dating back to 1973 and encompassing over 200 interviews. BHS is working to make these collections available for listening through a searchable database in the Othmer Library. Sady brings ten years of story-collecting experience to her role as oral historian at the Brooklyn Historical Society. Her interview technique demonstrates a merging of social science, journalistic, and Buddhist deep listening approaches, respectfully drawing out memories to be shared.

Date: Thursday, November 19, 2009

Time: 5:30 pm to 8:00 pm

Location: Brooklyn Historical Society, 128 Pierrepont Street, Brooklyn, NY 11201

Directions:

By subway: 2,3,4,5 to Borough Hall, A,C,F to Jay St/Borough Hall, or M,R to Court St.

By bus: North – South: B 38, B52, B25, B26, B41 to Montague/Court Street
East – West: B 67, B65 to Jay Street
From Manhattan: B51 City Hall to Court St. /Cadman Plaza WEEKDAY SERVICE ONLY

Light refreshments will be provided.

Workshop Fee and Registration: ART-NY Members / Non-members $25 / $30

Registration Deadline: Friday, October 16, 2009.

We are offering a package deal for non-members that include NYART membership and admission to the workshop for $50. Please note that membership cycles run from July to June. Please be sure to attach a membership form which is attached to this email and also available on our website: http://www.nycarchivists.org/membershipForm.html

PLEASE NOTE: SPACE IS LIMITED TO THE FIRST 55 REGISTRANTS

Checks made payable to: Archivists Round Table Metropolitan New York

and

Checks and registration mailed to: Bonnie Marie Sauer, National Archives at New York
201 Varick Street, 12th Floor, New York, NY 10014-4811

——————————————————————————–

[1] “What Makes Oral History Different?”, The Death of Luigi Trastulli and other Stories: Form and Meaning in Oral History (Albany, New York: SUNY Press, 1991)

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

Apparently the Senate confirmation of the US Archivist is happening now
– there’s a webcast available online at

http://hsgac.senate.gov/public/index.cfm?FuseAction=Hearings.Hearing&Hearing_id=aea3649c-d29a-4ef9-91f5-bfea392457bf

Thanks to Kate Thienen of the ArchivesNext blog at
http://www.archivesnext.com/ (she’s @archivesnext on Twitter) for the
information.

Amanda

–
Amanda L. French, Ph.D.
Assistant Research Scholar, Digital Curriculum Specialist
Archives and Public History
New York University
King Juan Carlos Center
53 Washington Square South #507
New York, NY 10012

TEL: 212-998-8638
FAX: 212-995-4017
AIM: habitrailgirl
amanda.french@nyu.edu

http://amandafrench.net

http://twitter.com/amandafrench

The following internship opportunities are currently available at StoryCorps, a Peabody Award-winning oral history project and one of the fastest-growing nonprofit organizations in the country. Please share these openings with your networks.

Information Technology Intern, Web Based Systems
Memory Loss Initiative Outreach Intern
Print Intern
StoryCorps Historias Outreach Intern
There are also several additional internship opportunities at StoryCorps (on both the Program and Operations side of our organization) for future internship sessions. You can read the full list at http://www.storycorps.org/about/employment-opportunities/internships.

To apply: please send cover letter and resume to internship@storycorps.org and include your last name and the semester for which you are applying in the subject line (e.g., “Smith, Spring 2010″). Include both cover letter and resume as attachments entitled “YourNameLetter” and “YourNameResume.” In your cover letter, please tell us how you found out about this opportunity, and identify the specific internship(s) in which you are interested. No calls please.

–
Thanks,

Megan Thiele
HR Generalist

StoryCorps
80 Hanson Pl, 2nd Floor
Brooklyn, NY 11217
Phone: (646) 723.7020 ext. 28

Help StoryCorps record more stories from communities like yours throughout the United States
www.storycorps.org/donate

Join StoryCorps’ Facebook Fan Page
facebook.com/storycorps

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

“Lost New York, 1609-2009,” NYU, 2-3 October 2009.

All sessions are free and open to the public.

The Department of English, Humanities Initiative, and Fales Library
and Special Collections at New York University are pleased to announce
the full schedule for a conference, “Lost New York, 1609-2009,” to be
held at NYU on 2-3 October 2009. All sessions are free and open to the
public.

Has New York always been a lost city?

Lost New York marks the 400th anniversary of Henry Hudson’s voyage for
the Dutch and the 200th anniversary of Washington Irving’s legendary
reimagining of this New World encounter in his Knickerbocker’s History
of New York. A wide array of conference participants will explore the
dynamics of creativity and destruction, nostalgia and invention, that
have for centuries marked efforts to “Do New York,” as Henry James
advised Edith Wharton. Lectures and panels will address the
relationships between literary imagination and the archives, between
migrations and displacements, between loss and remembrance, and
between preservation and development in the long and storied history
of one of the world’s great cities.

FRIDAY, 2 OCT

4:00 PM — OPENING PLENARY: RECLAIMING THE DUTCH (Fales Library, 70
Wash Sq South, 3rd floor)

Joanne van der Woude (Harvard University), “Knickerbocker’s Archive:
How Writings from New Netherland Shaped American Literature”

Elizabeth Bradley (New York Public Library), “The Great Knickerbocker
Hoax: Washington Irving and the Creation of Old New York”

Lytle Shaw (New York University), “New Amsterdam’s Chadwijks”

5:30 – 6:30 PM — RECEPTION AND EXHIBITION OPENING: “LOST NEW YORK”
(Fales Library Gallery)

SATURDAY, 3 OCT.

All Saturday sessions will be held at 13-19 University Place, room 102

9:00 AM: Coffee and tea

9:15 AM – 10:45 AM: FROM ADRIAEN VAN DER DONCK TO RICHARD HELL:
REFLECTIONS ON CURATING “LOST NEW YORK”

John Easterbrook (New York University) on Adriaen van der Donck’s
New Netherland

Kristen Doyle Highland (New York University) on the history of “Gotham”

Jane Greenway Carr (New York University) on myth and performance in
bohemian Greenwich Village

John Melillo (New York University) on Lower East Side poetics, 1960-1980

11:00 AM – 12:30 PM: MORNING KEYNOTE ADDRESS

Daphne Brooks (Princeton University), “‘Blue Light ‘Til Dawn’: Jackie
‘Moms’ Mabley’s Showtime at the Apollo”

12:30 PM – 2:00 PM Lunch

2:00 PM – 3:30 PM: BLOGGING THE APOCALYPSE: NEW MEDIA, NEW GENRES, AND
THE LITERATURE OF A LOST CITY

Sukhdev Sandhu (New York University), moderator

Panelists:

Lost City:
<http://lostnewyorkcity.blogspot.com/http://lostnewyorkcity.blogspot.com

Ephemeral New York:
<http://ephemeralnewyork.wordpress.com/http://ephemeralnewyork.wordpress.com

Flaming Pablum: Vanishing Downtown:
<http://vassifer.blogs.com/photos/my_vanishing_downtown/index.htmlhttp://vassifer.blogs.com/photos/my_vanishing_downtown/index.html

Bowery Boogie: <http://www.boweryboogie.com/http://www.boweryboogie.com

4:00 PM – 5:30 PM: AFTERNOON KEYNOTE CONVERSATION: DAVID FREELAND AND
MARSHALL BERMAN IN DIALOGUE

Marshall Berman (City College of New York and Graduate Center of the
City University of New York), author of All That Is Solid Melts into
Air and co-editor of New York Calling

David Freeland (independent writer, New York City), author of
Automats, Taxi Dances, and Vaudeville

5:30 PM – 6:30 PM: Closing reception

Conference sponsored by the Department of English and Humanities
Initiative at New York University. Exhibit sponsored by Fales Library
and Special Collections, on view through November 6.

Organized by Cyrus R. K. Patell and Bryan Waterman. For more
information visit <http://ahistoryofnewyork.com/http://ahistoryofnewyork.com

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html