Silence in the Archives, Part II: New Paths

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For Brenna’s previous reflections on this topic, see Silence in the Archives, Part I: Inviting Inquiry.

Brenna Levitin '16 asks, how do we study lesser-known aspects of Bryn Mawr student life?

Brenna Levitin ’16 in the College Archives. How do we study lesser-known aspects of Bryn Mawr student life?

Since my unconference session at PhillyDH@Penn, I’ve spent many hours mulling over ways to represent a project which each day becomes more complex. Because of the silence of our archives on the topic of LGBT life at Bryn Mawr, my project now relies heavily on personal accounts, discovered both through oral histories and informational interviews with alumnae/i and members of the faculty and administration.

Oral accounts are notoriously tricky: often narrators mix up names or dates, and personal narratives color everything. It’s the job of the historian (or historian-in-training) to interpret the narrator’s stories and to position them within both the overall narrative and the narrative of their life. It’s important to think critically about what might have shaped a person’s narrative so that we as historians do not naively accept everything we are told: we may hear two accounts which are factually divergent but represent equally valid experiences.

As I slid down the archival silence rabbit hole, it became clear that Omeka, the technology which The Greenfield Digital Center typically uses to create digital exhibits, would not be able to contain a decentralized, testimony-based project such as this one. My supervisor, a more experienced digital humanist than I, suggested an alternate program: Scalar.

scalarlogoFor those unfamiliar, Scalar is an open-source, online tool which allows scholars to build non-linear or multi-linear multimedia “books.” So far, Scalar appears to be a better tool for this project because it can showcase oral histories alongside blocks of text and images. I am especially enchanted by Scalar because it allows items to annotate or comment on other items, a great way to represent many, divergent stories, and because it allows multiple paths. As I build the exhibit, I’ll be able to specify not only an overall, linear path, but also a path which contains major events held by LGBT student groups or one with all of the reported instances of homophobia.

This multi-linear capacity means that not only are we not tied to one narrative, something which history struggles to accommodate at the best of times, but we are also free to portray the richness and diversity of the LGBT experience at Bryn Mawr. Some people loved college life, others didn’t; some were head of the Rainbow Alliance while others stuck to their tight-knit foursome. Every time that I send an email to a community member to request an interview, I include the fact that I’m not just looking for one universal, positive, “gay Bryn Mawr” experience. It’s important to me to amplify the voices of all; for without those voices, our tenuous connection to our history as an LGBT institution would fray irreparably.

A new beginning for the Center…

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This blog post brings news that is both sad and exciting for me… after a very productive, educational and inspirational time as Director of The Albert M. Greenfield Digital Center for the History of Women’s Education, I will be moving on as of September 25th 2013. I will be taking up a new faculty post at the National University of Ireland Maynooth in the history department. I have thoroughly enjoyed my time at Bryn Mawr and have learned a lot, getting to immerse myself in the world of digital humanities while pursuing my love of women’s history – bliss! I will be able to continue my work blending digital humanities with pedagogy in my new role and look forward to integrating much of what I’ve learned here.

I especially enjoyed connecting with so many wonderful colleagues on Twitter, some of whom I was lucky to meet in person at the Women’s History in the Digital World conference last March (for a report on the conference click here).  The digital repository that resulted from the conference continues to remain popular: it now holds 42 records, which have been downloaded a total of 482 times to date. I do get to remain connected to the Center, however, as I will be joining the Advisory Board. In this capacity I hope to help advise the new Director and to assist in moving the Center on to its next phase of development.  The Center has been my focus over the last two years and I am delighted to be able to remain a part of its future. The Center’s growth has been tremendous – we now have 1252 items on the site, and since its launch in September 2012, the website has been viewed by over 41,000 people. The blog, Educating Women, has had over 25,000 page views and continues to attract new followers – be sure to keep up to date with news from the Center by visiting the blog regularly.

This news means that the role of Director is open and ready to be filled by someone willing to take on the exciting challenges of running a digital center. If you are interested in progressing the work of the Center, or you know someone who would be ideal for the role, be sure to share the job description and encourage them to apply. You can find all details related to the application procedure here in this document and we have announced it on Twitter and some of the major academic listservs – please feel free to share it on your own networks.

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Hilda Worthington Smith, Director of the Summer School for Women Workers

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Students and teachers at the Bryn Mawr Summer School for Women Workers

As part of my work since returning from maternity leave I have completed two new research based exhibits for our site which are being finessed in their formatting but will appear in the next few days. These had been on my to-do list for quite a few months and I am delighted to have completed them at last! The first, looking at the Summer School for Women Workers that began at Bryn Mawr College, looks at the history of this labor education initiative that was subsequently replicated by Barnard College among others. The Summer School was an idea conceived by M. Carey Thomas at the end of her tenure as president of Bryn Mawr College. As the exhibit reveals, she was inspired with the idea of utilizing the prestigious college campus for education programs for factory workers after hearing of the news that Britain had passed suffrage legislation. Thomas’ sense of feminism led her to ponder how women who had achieved social and political change (such as suffrage) could assist their sisters. The Summer School was directed by Hilda Worthington Smith, a Bryn Mawr alum and social work pioneer. The school was the subject of a documentary, The Women of Summer by Rita Heller (available for viewing if you have access to the VAST Academic Video Online database) and was also featured in the Taking Her Place exhibit as an example of the history of Bryn Mawr in opening the campus up to non-traditional groups or students who were not conceived of in Joseph Taylor’s original plan for the college.

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M. Carey Thomas

The second exhibit is on M. Carey Thomas herself. I talked about this research as it was in progress at the Women’s History in the Digital World conference and the Mediating Public Spheres: Feminist Genealogies of Knowledge conference and produced this reflective piece on her and on using the Omeka exhibit format. I was interested to study Thomas from multiple angles in an attempt to reveal different truths about her, positing that there is no single ‘Truth’ to be known about her (or anyone). For this exhibit I used her own words from different periods of her life, the words of her close friends, professional associates and colleagues all of which offer different insights into her personality. I have also featured her published writings on topics in women’s education, many of which appeared as a result of public speeches she gave and illustrate her profile during her lifetime as one of the foremost advocates of women’s access to education and the professions. You can access the exhibit by clicking here on the Center’s exhibit collection (it will be live in a few days).

A final reflection on the current state of women’s history in the US wraps up this post. Having spent much time over the last few months processing membership applications to the Coordinating Council for Women in History, I was struck by the breadth of interests that members have. On the application form members are asked to fill out three key words that represent their historical research interests, and this Wordle represents the responses members have given:CroppedHistoryWordle

Just for fun, I also used Tagxedo to represent these key words as a map of the United States:

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A review of these terms affirms my own view that women’s history is a vibrant and eclectic space, and is a strong counterpoint to those who seek to pigeonhole historians who focus on women of the past. The Center has had a wide breadth of interests since its inception, and in the future it will continue to promote diversity in the narratives it highlights in women’s education in the past. As the Center enters its new phase of growth I hope all of you will continue to support its mission to get women’s history, particularly narratives that focus on education, noticed in the exciting sphere of digital humanities.

Thank you to all of you who have interacted with me in my work at the Center, its growth is also due to your interest and promotion.

Blogs, Exhibits and Tweets: Summer at The Albert M. Greenfield Digital Center for the History of Women’s Education

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Marion Park, President of Bryn Mawr directly after M. Carey Thomas. Park was a Bryn Mawr College alum and is the subject of a new exhibit to be developed over the summer for the website

The summer is here and we thought we’d share our plans for developing the Center’s site with you. We will be working hard over the next few months on developing new content, and continuing to reach out to you on social media (if you don’t follow us already, get to it @GreenfieldHWE or find our facebook updates on the Friends of Bryn Mawr College Library page).

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See http://omeka.org/ for further details on the platform we use to power our site

We are excited to be making two significant improvements to the site. The first of these is to make the site mobile compatible, so all of you who like to browse on your tablet or phone will be able to do so more easily once the changes come into effect around July. The second improvement is something that more directly affects our experience – we are in the process of upgrading to the new Omeka 2.0 platform, a huge improvement on the previous version from our initial poking around! If you are using the new platform and would like to share your experiences, be sure to get in touch (greenfieldhwe@brynmawr.edu). The biggest change on the user end will be the search functionality, which will be greatly enhanced from its present version. Aside from the search, users will not notice differences or disruptions (we hope!) but the streamlined back end is definitely an improvement and will help us in our mission to digitize and display in the best way the resources we hold in the history of women’s education.

Marian Edwards Park was President of Bryn Mawr from 1922 until 1942 when she retired. When she came to Bryn Mawr as a student she was among the early generations of women who enjoyed higher education for the first time. A member of the class of 1898, she won the European Fellowship upon graduation, the college’s highest honor at the time. She returned to complete her PhD in classics in 1918. She therefore experienced life at Bryn Mawr from all perspectives: undergraduate, graduate and administrator. She oversaw the school through some dramatic times, namely the Depression and the beginning of World War II, and she was also president during the period in which it first allowed African American students to attend as undergraduates and as members of the Bryn Mawr Summer School for Women Workers. Park also led the celebration of the College’s 50th anniversary, a major milestone of achievement in the ‘experiment’ of education for women. Because she  followed in the rather intimidating shadow of M. Carey Thomas, her contributions have not loomed as large in the historical record. However, Park will be the subject of a new exhibition this summer, examining in particular her condemnation of the increasingly horrifying events in Europe that led up to World War II. The exhibit will include evidence on her efforts to host Jewish scholars fleeing the Nazi regime. Keep an eye on the site for the exhibit and make sure to let us know what you think.

We hope to continue work on digitizing primary sources, particularly the rich collection of oral histories that we have been engaged in translating from cassette tapes to digitized recordings for over a year. This is slow, meticulous work, but we hope to be able to share them with you eventually on the Tri-College digital collections site, Triptych. If you haven’t seen them already, there are a few examples from the collection that were digitized as part of the Taking Her Place exhibition, available on our site here. This is a fascinating collection, including narratives from student, staff, faculty and alumnae, with memories stretching back to the first decades of the college’s existence. Work will be ongoing for the next year and more, but we will be releasing recordings to celebrate special events or for use in digital exhibits as appropriate when we can do so. There have been a few reflections from students working on this collection over the past while which you may have seen already, the last of which was by our most recent student helper on the project, Lianna Reed ’14.

Special Collections is also hosting a number of interns for the summer, two of which have been awarded brand new internships through the Pensby Center to focus on tracing histories of diversity at Bryn Mawr College. Lauren Footman ’14 will be examining the experiences of the African diaspora on campus, including sourcing participants to create new oral histories to add to our collection, a most welcome addition to our work at the Center in trying to uncover stories from that past for which we have little or no documentary evidence. Her fellow intern, Alexis de la Rosa ’15, is looking at Latina histories and will be surveying current students and alums later in the summer. Alexis and Lauren’s work will be available as a digital exhibit on our site at the end of the summer, and they will also be writing blogs about their experiences doing this important research. Both Alexis and Lauren are also jointly engaged in cataloging the papers of Evelyn Rich, class of 1952. Evelyn Rich was one of the first African American students to live on campus, and her extraordinary achievements span education, the labor movement and politics. We are lucky to have acquired her papers.

WHDW home pageThe popularity of the Women’s History in the Digital World conference repository continues – there have been over 300 full-text downloads from the repository so far. We are so proud of our wonderful contributors for sharing their work and hope anyone who hasn’t done so already will be inspired to. Plans for the next conference will be going into gear in the fall, so keep an eye out for updates and think about submitting an individual paper or a panel if you have been working on a collective project. You can also follow the recording of the conference by visiting our blog post which detailed the Twitter archive, Storify and blog posts on the conference and you can listen to Professor Laura Mandell’s inspiring keynote here.

As some of you know, I will be going on maternity leave for this summer, so if you wish to get in touch with someone about the work, please contact the Center’s Research Assistant, Evan McGonagill, who will be managing communications throughout the summer (you can contact her through the general email address: greenfieldhwe@brynmawr.edu).  There will be more blog posts and updates so don’t forget to follow us on Twitter and to visit the Educating Women blog. You can comment on any blog post you see, and we always look forward to hearing your comments so stay in touch, and happy summer!

 

Thoughts on feminism, digital humanities and women’s history

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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.

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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.