Tag Archives: biography

Daughters of the Samurai: Author Janice Nimura visits Bryn Mawr

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Bryn Mawr College is delighted to welcome Janice P. Nimura to campus on Tuesday, January 26, 2016. Nimura is the author of Daughters of the Samurai: A Journey From East to West and Back, published in 2015 by Norton. According to the publisher:

daughters of the samurai coverDaughters of the Samurai describes the journey begun in 1871, of five young girls who were sent by the Japanese government to the United States. Their mission: learn Western ways and return to help nurture a new generation of enlightened leaders in Japan. Raised in traditional samurai households during the turmoil of civil war, three of these unusual ambassadors—Sutematsu Yamakawa, Shige Nagai, and Ume Tsuda—grew up as typical American schoolgirls. Upon their arrival in San Francisco they became celebrities, their travels and traditional  clothing exclaimed over by newspapers across the nation. As they learned English and Western customs, their American friends grew to love them for their high spirits and intellectual brilliance. The passionate relationships they formed reveal an intimate world of cross-cultural fascination and connection. Ten years later, they returned to Japan—a land grown foreign to them—determined to revolutionize women’s education. Based on in-depth archival research in Japan and in the United States, including decades of letters from between the three women and their American host families, Daughters of the Samurai is beautifully, cinematically written, a fascinating lens through which to view an extraordinary historical moment.”

Ume Tsuda portrait, 1890.

Ume Tsuda portrait, 1890. Bryn Mawr College Special Collections.

One of these young women, Ume Tsuda, attended Bryn Mawr College. Upon her return to Tokyo, she founded a similar institution for Japanese > women, which grew into the important and prestigious Tsuda College of today. The connection between Bryn Mawr and Tsuda Colleges has remained strong over the years and sparked a host of connections between Tri-Co colleges and Japan over the years.

Nimura will visit with staff and students in Taylor Hall from 1:30-2:30pm today, an informal opportunity to discuss the book and women’s international education initiatives. She will also speak to students in HIST 303: History in Public: Race, Gender, and Campus Memory from 3-4pm.

  • For more on Japanese ties to U.S. women’s education, read Febe Pamonag’s 2012 article, “‘A Bryn Mawr School in the East: Transpacific Initiatives for Japanese Women’s Higher Education,” in Pacific Historical Review 81.4 [link to full text on Tripod].
  • For more on Janice Nimura, visit the author’s website.

Thoughts on feminism, digital humanities and women’s history

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No_So_Ladylike_Afterall

M. Carey Thomas, Bryn Mawr College’s first female president, is the subject of a new digital exhibit to be launched soon

I have been exploring my thoughts on women’s history, digital humanities, and feminism through two separate presentations in recent months, the first at the conference organized by The Albert M. Greenfield Digital Center for the History of Women’s Education, Women’s History in the Digital World (March 2013), and the second at the Five Colleges Mediating Public Spheres: Genealogies of Feminist Knowledge in the Digital Age conference (April 2013). In a presentation at the latter conference, titled Open Source Technology and Feminist Perspectives: Translating Sources on the History of Women’s Education to the Digital Age I explained my feminist approach to my work at the Digital Center, focusing on a digital exhibit on M. Carey Thomas that is underway and will be launched soon. This blog post represents a synthesis of the two papers, based on work and thoughts in progress… all comments and feedback welcome as I work through some of the concepts I’ve been grappling with.

My thoughts on the trifecta of feminism, digital humanities and women’s history are largely drawn from my experiences using the open source software platform, Omeka, and our institutional enterprise version of Word Press to populate different areas of the Digital Center’s site, in addition to my training as a CLIR Postdoctoral Fellow. While I assume that neither of these tools were designed with feminist notions in mind, I’ve come to believe that they have large potential to be utilized for feminist outcomes, particularly Omeka, as I will explain further in this post. Primarily, the Center’s site aims to tell stories in the history of women’s education that emanate from different perspectives. As Hermione Lee has said in her collection Virginia Woolf’s Nose: Essays on Biography, “We all want stories”, and the demand for such stories in the digital age is no less (possibly more, in fact) than ever before.[1]

The digital age and the tools it provides allow for a different mediation of knowledge than standard forms of scholarly communications. As noted by Abby Smith Rumsey these new methods have brought “fundamental operational changes and epistemological challenges [that] generate new possibilities for analysis, presentation, and reach into new audiences”.[2] The exhibit format in Omeka is designed to allow for the easy presentation of original historical material, such as images, transcriptions and audio files. This allows for the greater sharing of primary source materials, itself a way to decolonize and break down barriers to research and access to rare materials. We have created a number of exhibitions on our site, some of which have been generated as a result of student work from a class I teach on the history of women’s education, some of which come from collaborations with other colleges, and some drawn from our own collections and created by me and my team (see here for the full range of exhibits we have developed so far).

Our endeavor to produce digital source material comes from a desire to transmit knowledge and awareness of women’s history to the broadest audience possible: fellow researchers, students, teachers, alumnae, digital humanists and those simply with a desire to learn more about the topic–in essence, the public sphere has expanded in the digital age, although there are still challenges to be faced in greater online access morphing into another form of the ‘digital divide’.

Upon learning the new software platform and becoming familiar with its characteristics, possibilities and constraints, I realized that the Omeka exhibit format allows for the subject matter to be presented in a deconstructed narrative, due to the free form it provides for creating the digital exhibit. This struck me as having strong feminist potential: while the structure allowed by the Omeka format is cohesive in terms of form and flow, the sectioning of a biographical narrative allows for the fragmentation of the story, and in my efforts, for the development of a kaleidoscopic view, or, to paraphrase Henry James, to let the “swarm of possibilities” that nebulously make up a person’s biography to emerge, rather than a “few estimated and cherished things”.[3] This is, in my view, one of the pivotal means by which to incorporate digital media in feminist scholarship and practice.

Image by klmontgomery licensed under a Creative Commons license and available here http://www.flickr.com/photos/klm_digital_snaps/1444968874/sizes/m/in/photostream/

Image by klmontgomery licensed under a Creative Commons license and available here http://www.flickr.com/photos/klm_digital_snaps/1444968874/sizes/m/in/photostream/

In a feminist postmodern tradition, this approach posits that there is no ONE person for us to study, no One Truth we can ascribe to a person or their life history.  In this case, M. Carey Thomas, born in Baltimore, Maryland on January 2, 1857 to a prominent Quaker family. Thomas was the first Dean and later the first female President of Bryn Mawr College and a national leader in women’s struggle for access to higher education and the suffrage movement.  My feminist approach to her biography aims to be cognizant of the privilege in stories such as hers: the history of women’s entry into higher education is an elite history, and recognition of this is necessary so that the histories we tell are not merely celebratory without being interrogative.
Here I am focusing on Thomas as she was seen from different perspectives: her own (for example, her ambitious articulations for her education and career in the letters and diaries that span her time at Quaker boarding school, on to Cornell, Johns Hopkins and eventually a summa cum laude PhD from the University of Zurich), those of her contemporaries, lovers, friends and family, the public and the way in which she was memorialized after her death in 1935. I am focused here, however, not on the details of her biography (although this will be in the exhibit) but rather on examining the potential of an open source software tool to present critical historical analysis of this fascinating person. The ability to juxtapose different opinions by placing them on the same page is more visually and comprehensively impactful in a digital exhibition format than would be the effect of a written paragraph: in traditional biographical accounts such as an article or monograph, editorial and stylistic conventions would view such jumping around as incoherent, and yet it can be seamless in an online presentation.

Making sure our metadata is harvested by the major search engines and databases and using social media to reach both scholarly and public audiences will both be crucial in building up a new body of feminist genealogies and for tracing feminist work in the digital era. The metadata itself also needs to be cognizant of feminist principles in describing women’s identities in digital databases, as was mentioned by Professor Laura Mandell in her keynote speech at the Women’s History in the Digital World conference. 

It is also imperative that as we do work that mediates the public sphere in the digital age we think about its long term preservation. This requires that choices be made, funding be sourced and policies be formulated now – it would be the greatest tragedy of all if we found ourselves unable to trace back the exciting developments in feminist work that have been produced in online public spaces. The familiar academic mantra of ‘publish or perish’ might be usefully adapted in this context to be ‘archive or perish’. And, as I remarked at the Women’s History in the Digital World conference that was held at Bryn Mawr College, I believe fundamentally in the idea that the ‘add women and stir model’ for any kind of initiative, social, political education or anything else, rarely works.

Seat-at-the-table-300x171

Photo courtesy: www.hbdi.com

In the new era of digital humanities, women need a seat at the table while it’s still being set, not after the main course has been served. As I researched for this paper, I discovered that others in the digital humanities community have also used the “table” to describe the need to collaborate, critique and engage in new developments. Alan Liu has argued that digital humanists need to be equal partners at the table, not just a servant, when critical conversations are happening about the way forward for the humanities and cautions that digital humanists need to include more cultural critique in their work.[5] Moya Bailey extends Liu’s concerns into more explicitly feminist territory with her arguments that the “ways in which identities inform both theory and practice in digital humanities have been largely overlooked” and that moving from “the margin to the center” gives the opportunity to “engage new sets of theoretical questions that expose explicit structural limitations that are the inevitable result of an unexamined identity politics of whiteness, masculinity and ablebodiness”.[6] Alan Liu’s point was that the “digital humanities have a special role to play today in helping the humanities communicate in contemporary media networks”.[7] I would extend this argument to say that feminists have a special role in mediating the present and future public spheres, through their research, pedagogy and activism. Here the words of M. Carey Thomas are apt: reflecting on the success women had made of educational attainment in the first twenty-five years of the Association of Collegiate Alumnae, she stated “The fearsome toads of those early prophecies are turning into pearls of purest radiance before our very eyes.”[8] Let’s hope it’s the same for us as we feminists navigate the new public spheres and create our own genealogies of knowledge.

[1][1] Hermione Lee,  Virginia Woolf’s Nose: Essays on Biography, Princeton University Press: Princeton, 2005: 1.

[2] Smith Rumsey , New-Model Scholarly Communication: Road Map for Change (2011: 2).

[3] As quoted in Hermione Lee,  Virginia Woolf’s Nose: Essays on Biography, Princeton University Press: Princeton, 2005: 1.

[4] Anne Balsamo, Designing Culture: The Technological Imagination at Work, Duke University Press: 2011: 51.

[5] Alan Liu, ‘Where is Cultural Criticsim in the Digital Humanities?’ available from http://liu.english.ucsb.edu/where-is-cultural-criticism-in-the-digital-humanities/

[6] Moya Z. Bailey, ‘All the Digital Humanists Are White, All the Nerds Are Men, but Some of Us Are Brave’, Journal of Digital Humanities, Vol. 1, No. 1 Winter 2011, available from http://journalofdigitalhumanities.org/1-1/all-the-digital-humanists-are-white-all-the-nerds-are-men-but-some-of-us-are-brave-by-moya-z-bailey/

[7] Alan Liu, ‘Where is Cultural Criticsim’.

[8] Thomas, Women’s College and University Education:  Address delivered at Quarter-Centennial Meeting of the Association of Collegiate Alumnae, Boston, November 6, 1907.
Available in digital form on the website of The Albert M. Greenfield Digital Center for the History of Women’s Education by clicking here. You can view the original by visiting Special Collections, Bryn Mawr College.

“The Seed of the World that is to Be”: the Activism of Emily Greene Balch

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Balch, n.d. Soon after she won the Nobel Peace Prize in 1946

On November 14, 1946, Emily Greene Balch became the third woman to be awarded the prestigious Nobel Peace Prize.1 In commemoration of that event, The Albert M. Greenfield Center for the History of Women’s Education has compiled the following biographical overview of Balch’s remarkable life and achievements.

“Differences as well as likenesses are inevitable, essential, and desirable. An unchallenged belief or idea is on the way to death and meaninglessness.”
–Emily Greene Balch, Nobel Lecture

 

One of Bryn Mawr College’s most distinguished alumnae is Emily Greene Balch, who, in 1889, became a member of the the school’s first graduating class. In an era in which bachelor’s degrees for women were still a novelty and post-college careers were even more rare, Balch set herself apart by effecting real change on both the local and global scale. Her history stands in direct opposition to the dissenting voices of her time that asserted that women were not worth educating, and her achievements appear no less remarkable today.

Balch at 10 years old

Born in 1867, Balch grew up in the Jamaica Plain area of Boston. Though she would later convert to Quakerism in 1921, she was heavily influenced by her Unitarian upbringing. Late in her life she would recall a sermon by Unitarian minister Charles Fletcher Dole that inspired her to dedicate herself to the “service of goodness whatever its cost” when she was just ten years old. “In accepting this pledge,” she wrote, “I never abandoned in any degree my desire to live up to it.” 2

Balch was also a dedicated student: her excellent academic performance at Bryn Mawr, where she took her degree in Greek and Latin, culminated in her being awarded the prestigious European Fellowship to fund a year of further study abroad. After a year studying sociology in the US, she applied the funds from her fellowship to a year at the Sorbonne to study poverty alleviation policies, and returned to Boston determined to apply her education to the task of realizing her moral convictions. Her most notable achievement during her first years out of school was the 1892 founding of the Denison House College Settlement, an initiative to bring “social and educational services into a poor immigrant neighborhood” by integrating educated women and the urban poor in a living environment.3 From early in her career she acted on the belief that the most effective way to create change was by erasing divisions between groups of people, fostering contact and mutual understanding.

Balch at Bryn Mawr

Driven by a desire to instill her own compassion in others, she decided to become a teacher and joined the faculty of Wellesley College after several more years of preparatory study. Though she was successful as a professor, Balch continually prioritized hands-on work and research, taking leave (both paid and unpaid) to conduct research on Slavic immigrants. This effort produced the highly acclaimed work Our Slavic Fellow Citizens (1910). In 1913 she became the chair of the Department of Economics and Sociology at Wellesley.

Balch advocated unequivocally for peace in the years leading up to and during the First World War. Her active involvement in international politics began while she was still teaching at Wellesley: in 1915 she joined the International Congress of Women at The Hague, an organization that took the stance of promoting mediation rather than military action in response to the conflict in Europe. However, her outspoken avowal of peace during the war was controversial, eventually leading to her dismissal from Wellesley College.

U.S. delegation to the International Conference of Women for a Permanent Peace, held at The Hague, The Netherlands, 1915

After departing from Wellesley in 1918, Balch continued to champion peace both in her editorial work with The Nation and in her co-founding (with Jane Addams) of the Women’s International League for Peace and Freedom. In 1946, she became the third woman to be awarded the Nobel Peace Prize.

Balch’s life is notable not just for her international advocacy, but also for the way in which she wove together her global vision with her ability to foster connections between disciplines, groups, and individuals. She lived this vision fully as a student, an academic, a poet, a Quaker, and as a public voice for change. In her acceptance speech for the American Unitarian Association Award in 1955, she used words of connection, unity, and growth that were consistent with her lifelong commitment to global community: “The time has come to break down the dikes and let the healing waters flow over us. I see in us, young and old, the seed of the world that is to be.”4

 

Further reading on Emily Greene Balch:
Nobel Lecture (1946)
Emily Greene Balch: the Long Road to Internationalism  (2010)
Improper Bostonian: Emily Greene Balch, Nobel Peace Laureate, 1946 (1964)
Emily Greene Balch of New England: citizen of the world (1965)

1. The first was Bertha von Suttner in 1905; the second was Jane Addams (close friend and colleague of Emily Green Balch) in 1931.
2. Miller, Heather. “Emily Greene Balch: Nobel Peace Laureate 1967-1961.” Harvard Square Library. Web. 11 November. 2012. <http://www.harvardsquarelibrary.org/unitarians/balch.html>
3. Buehrens, John A. Universalists and Unitarians in America: A People’s History. Boston: Skinner House Books, 2011. p. 130
4. Benjamin, Michelle; and Mooney, Maggie. Nobel’s Women of Peace. Toronto: Second Story Press, 2008. p. 35

 

Process, memory and form: exploring the spoken and the written word in the Bryn Mawr College collections

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This post is brought to you by Amanda Fernandez (’14) who has been working as a project assistant in Special Collections throughout the summer, specializing in digitizing material for The Albert M. Greenfield Digital Center for the History of Women’s Education. Here she reflects on the difference between digitizing and transcribing oral and written records, both of which illuminate the lives of alums in the past, finding frustrations and fascinations again in comparing epistolary and oral practices in recording memory and interpreting impressions from the past ….

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Summer being almost through, most student workers still happily off at their summer destinations, clinging to what remains of sweet summer and denying the soon to come scholastic year, I have stayed and carried on with my letter transcribing here in Special Collections. In addition to this, in order not to find myself enveloped (no pun intended) in a monotonous workflow, which would eventually incite distaste towards the project (as well as M. Carey Thomas and Mary Garrett), I have taken up another task. The project, which once belonged to Isabella Bartenstein (who is now happily gallivanting about Avignon!), involves listening to and digitizing a collection of interviews of alumna and long retired staff, all in order to compile a digitized collection of the Oral History Project. The project started in 1960 and was an active effort on behalf of the Alumnae Association to collect personal accounts of students’ and staff members’ experiences at Bryn Mawr and how it affected their lives.  In 1981, the OHP became more of a collaborative project when the paper work and cassettes were moved to the archives. Caroline Rittenhouse (BMC class of 1952) conducted many of the later interviews and directed the project when she became the College Archivist in 1987. The transferring of these audio tracks from the ancient medium of cassette tape to mp3 on a digital recorder by means of a tangle of wires that turn my workspace into jungle, can be tedious or thrilling, depending on the entertainment and interest value of the interview as a whole. Some of the most interesting interviews turn out to sound more like conversations which is suggested against in the general interview guidelines but, is almost entirely inevitable considering that the dialogue usually occurs between two alums.

I’ve found that audio recorded interviews relay much more information than the hand-written letter does. Letters, more specifically the letters that I have been transcribing, are not capable of lending me as accurate an insight into M. Carey Thomas as would an interview I think.  In transcribing and reading the letters, I tend to peel out my own conclusions—imposing my assumptions in order to erect the shadows of two people and a dramatic exchange draped over their correspondence. To be honest, I have gone as far as judging M.C.T. for the way she’s dotted her i’s.  In retrospect, something seems obviously askew in that practice—how could I understand enough about the culture of written narrative (which entails so many variables; structure, etiquette and subsequent tone, the relationship between the addressed and the addressee etc.) in that time and setting to  mold detailed personalities? I could also draw illusory conclusions from an audio recorded interview if the interviewee is putting on a ‘persona’—but even then, the intuition developed in perception of sound gives the theatrics away.

In listening to interviews I am depending on the human memory—which does not have a reputation for accuracy or precision, especially with the wear and tear of time. Experiences are subjective and the ‘singed’ memories thereafter are much like the newspaper clippings I find attached to letters; they yellow and tear here and there, the paper thins out and sometimes the words that were once clipped for their current relevancy in that time are now relevant in another upon being re-read—sometimes completely transformed by new perception that has been changed much in the same way as the physical clipping. We know that each person will recreate scenarios and memories according to the way they perceive and process—these interviews are unique in that memories are sewn together—memories most times compared and sometimes even confirmed. The exchange of sound waves seems to solidify the person that in letters appears just as a shadow; we are able to build a more three dimensional personality in our heads, we sense their stories in sound, the tone and expression being audible and creating a clearer picture.

Most of the interviews, if not all, are based on a standardized interview format—meaning that each of the interviewers are asking the same questions. Some interviewers ask the interviewee to expand, or they turn the interview into more of a dialogue where one relates to the other, prompting a more enthusiastically responsive and detailed answer. I guess interviews also depend on commonalities and relationship—what the interviewer can draw from the interviewee depends very much on what they have in common in regards to their experience at Bryn Mawr which would allow for the best and most informative dialogue—this also limits the interview in a situation where there is no familiarity. The most intriguing interviews I’ve heard thus far are those that have evolved into conversation due to the binding induced by commonality—such as one between two alums who were both raised by alums. In this exchange they share not only their own experiences (as one time students at BMC as well as what it was like being raised by BMC alums) but also the BMC memories transmitted to them by their mothers. At certain times throughout the recording, I caught the presence of four, each alum and her mother’s memory.

Through these tapes I have also confirmed my own faith in the long standing reputation of exceptional characters that proceeds Mawrters, women that  exceed expectation and burst out of the restrictions imposed on them by the social codes of their time. This was clear to me in most of the interviews, but particularly in two, the interview of Katharine Fowler Billings (class of 1925) who became an accomplished and renowned Geologist in the 1920’s when it was practically unheard of for a woman to take up such a profession.

An article on her pioneering work appears here on the GeoScience World site.

Isabel Benham

The second was of Isabel Benham who scraped and clawed her way as an independent woman on Wall Street starting in the 1930’s and I could not help but tear up a bit when she remarked, “Bryn Mawr taught you you were the best that there was and you can do anything you want.” Isabel was even dubbed the ‘Mother Superior’ of Wall Street (go to Link to Isabel Benham’s College Yearbook). In both of their interviews, their voices resounded with enthusiasm despite the distance of years from their time at the college and good humor.

Aside from what I have learned from the nature of the medium of audio, I am assured by the content of these interviews that Bryn Mawr women grow to be ‘defy-ers’ of their time.

 

Narrative, Visual Autobiography and Digital Storytelling – New ways to tell Mawter stories

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We have been strongly considering the importance of recording experiences of education as part of our work at The Albert M. Greenfield Digital Center for the History of Women’s Education. As part of this, we’ve been digitizing oral histories completed with alums of the past, some who attended the college a century ago. We’ve also recently received some audio interviews of women who featured in the Women of Summer film (about the Summer School for Women Workers, which will also feature as an exhibit on the site soon). So we have been thinking deeply about the ways in which people tell their stories, shape their narratives, and for women especially, how they fit the story of their education into the wider narrative of their lives.

How do people memorialize important experiences such as higher education? Have there been changes over time? What is remembered and what is forgotten? What new forms of scrap-booking, such a popular past-time in the late nineteenth and early twentieth century (with a recent revival in the context of renewed interest in crafts) now exist or can exist in the digital world?

Excerpt from Photo Album of Eva Levin Milbouer, Class of 1933. See this at http://triptych.brynmawr.edu/cdm4/document.php?CISOROOT=/BMC_scrpbks&CISOPTR=6030&REC=6

As Jessy Brody’s posts in this blog on her work on the Bryn Mawr collection of scrapbooks indicates, they are rich source of material for researching past lives at Bryn Mawr College. They do not, as she has found, always tell you what you would wish to find out, being as they are, silent testimonies to the lives of Mawters in the past, communicating visually but not aurally or orally the myriad of academic and leisure experiences they had during their time here. Jessica Helfand, author of Scrapbooks: An American History has argued that scrapbooks are a form of visual autobiography to record and commemorate things that could not, for whatever reason, be expressed in words:

‘The scrapbook was the original open -source technology, a unique form of self-expression that celebrated visual sampling, culture mixing, and the appropriation and redistribution of existing media” (page xvii)

We are hoping to extend our knowledge about past experiences at Bryn Mawr College by collaborating with alums in creating digital stories, a new form of visual autobiography which melds aspects of scrapbooks with oral history to create unique personal stories. Traditional elements of scrapbooks – photographs, letters, notes, invitations, ephemera and other reminders of past experiences – are scanned and combined with an audio narrative to create an audio-visual file that looks somewhat like a mini-movie. Having been inspired by the pedagogical work in bringing digital storytelling into the classroom at the University of Richmond we have adjusted their principles of creating digital stories to reflect the needs, interests and experiences of Bryn Mawr alums (for some great examples of digital story telling from the Richmond site click here).

I will be working with alums through city and regional Alumnae Club chapters to assist interested Mawters in creating their own reflective pieces on their time at Bryn Mawr. The story you wish to tell is completely up to you: perhaps you would like to represent why you chose Bryn Mawr College above others? Or your experiences at a single-sex institution? Or what you think being educated at Bryn Mawr gave to you throughout your life/career? Was it a special time, a challenging time, or a mix of both? What role does a single sex educational institution have to play in the landscape of higher education today? These are merely suggestions; the digital story is truly yours.  For more information on our approach to creating digital stories, click below to see a poster on the topic.

Bryn Mawr Digital Stories for The Albert M. Greenfield Digital Center for the History of Women’s Education

If you are interested in creating your own digital story, think about doing so as part of your local alumnae chapter and feel free to contact me any time (jredmond@brynmawr.edu)

Collecting Bryn Mawr stories is a supplement to our other work of digitizing the oral history interviews conducted in past decades which are currently on cassette tape (for more on this see blog post by student worker Isabella Barnstein on her work on creating a catalog and digitizing the collection).

Capturing the varied narratives and preserving them for future generations is an important aspect of our work and one that we hope will interest alums and the wider community of those who research, teach and simply like to hear about women’s past experiences in education.

As a reminder, you can view the scrapbooks we have currently digitized in Triptych by clicking this link (there are currently 22 albums in the collection with ongoing digitization as part of the Greenfield Digital Center initiatives in digitizing important Bryn Mawr College material).

Happy browsing!