Currently viewing the tag: "SALALM59"

Moderator:      Adán Griego, Stanford University
Rapporteur:     Virginia García  Instituto de Estudios Peruanos

Presenters
Kathryn Paoletti, Casalini Libri
Lluis Claret, Digitalia
Leslie Lees, e-libro/ebrary
Fernando Genovart, Librería García Cambeiro
Frank Smith, JSTOR

Adán Griego, moderador de este panel hizo una presentación muy explícita y exhaustiva sobre los e-books, explicando tantos sus ventajas y desventajas.

Casalini Libri

La senorita. Kathryn Paoletti explicó los alcances de la empresa en el servicio de E-Books.

Esta es una empresa dedicada a la venta de los E-Books tanto de libros como de revistas desde hace más de cincuenta años, estos documentos son en su mayoría publicados en Italia, Francia, España, Portugal y Grecia. Cuenta con proyectos de edición digital accesibles a texto completo mediante la plataforma Torossa. Brinda varios servicios para que el procesamiento de los libros sea más ágil.

Digitalia

Explicación de esta base a cargo de Lluis Claret.

Es una base de datos de hispánica de e-books y revistas electrónicas de alta calidad donde se encontrara el mejor acceso a los contenidos en lengua española, Contiene libros de editoriales españolas y latinoamericanas, así como revistas únicas de excelente prestigio en diferentes materias.

La meta de esta empresa es ser un líder en brindar a las bibliotecas una selección de títulos debidamente seleccionados con los mejores procedimientos en gestión de la información.

e-libro/ebrary

Exposición por Leslie Lees

Explicación de esta base a cargo de Leslie Lees

Única plataforma académica que paga los derechos de autor por uso. Todos los usuarios al mismo tiempo pueden ver todos los libros electrónicos. Ofrece textos completos, textos de cátedra, libros, artículos, investigaciones científicas y tesis doctorales de todas las disciplinas académicas.

Contiene libros de más de 200 editoriales y realizan pagaos trimestrales de derechos de autor.
Cuenta con contenidos de “acceso abierto” (revistas científicas o journals, artículos científicos) seleccionados cuidadosamente, que están gratis en la plataforma y que conforman un valor agregado para las instituciones.

Se hizo una exposición de las ventajas de esta plataforma, como:  acceso simultáneo,  buscadores sofisticados,  señaladores, descargas para  diferentes dispositivos electrónicos compatibles con Adobe Digital Editions. Aplicaciones para Ipad, Android, informes generales y costos accesibles en el mercado. También mencionó las bibliotecas con las que han empezado a trabajar.

Librería García Cambeiro

Exposición a cargo de Fernando Genovart

Es una empresa familiar de más de 100 años.  Esta empresa provee servicios a importantes universidades norteamericanas.

Su objetivo es aumentar la cobertura de los títulos digitales académicos existentes de América Latina, así como de la literatura gris existente para aminorar costos.  Han introducido las nuevas tecnologías para la catalogación y clasificación del material bibliográfico. Ofrecen acceso perpetuo en pdf, Los archivos están depositados en un servidor en los Estados Unidos, y cuentan también con un back up en la Argentina. Los libros son ofrecidos con el formato Marc, y el acceso es controlado mediante los IP de las bibliotecas.

JSTOR

Frank Smith

Jstor es una biblioteca digital con más de 1,500 publicaciones periódicas académicas, libros y fuentes primarias. Contiene colecciones en e-books de arqueología, historia, sociología política, ciencia y tecnología entre otros.

Los libros son guardados y una vez que se venden a la biblioteca estos le pertenecen de forma perpetua. Disponen de todo el material necesario para el uso de los e-books.  Los usuarios pueden usar y cruzar información tanto de los libros, publicaciones periódicas y todas las fuentes bibliográficas.

El acceso a los e-books es desde el IP de su biblioteca o también de forma remota.  Las fuentes pueden leerse en línea o ser bajados en formato pdf.  Los libros pueden ser prestados como préstamo inter-bibliotecario por las bibliotecas.

PREGUNTAS:
Nada

Moderator:      Mark L. Grover, Brigham Young University, retired
Rapporteur:     Gabriella Reznowski – Washington State University

Presenters:
Doug Weatherford, Brigham Young University
Populating the Margins: The Struggles of Families and Communities in The Milk of Sorrow by Claudia Llosa

Rex Nielson, Brigham Young University
Socially Rooted Authoritarianism in Lygia Fagundes Telles’ As Meninas

The panel is introduced by Mark L. Grover who provides some historical information on Brigham Young University and the Harold B. Lee Library.

Doug Weatherford, Associate Professor of Spanish at Brigham Young University, is working on a monograph related to Juan Rulfo and teaches Spanish literature and film classes at Brigham Young University. Weatherford begins by discussing the rich history of Latin American film and explains that many film industries have struggled in recent times. Despite this, a new generation of Peruvian filmmakers has emerged to contribute to a national film culture for the country.

The filmmaker that Doug Weatherford will focus on for his presentation is Claudia Llosa, who is the niece of Mario Vargas Llosa. She has produced several multinational productions, including Madeinusa (2006) and Aloft (2014). Her 2009 film, La Teta Asustada (translated as The Milk of Sorrow) was the first Peruvian film to be nominated for an academy award in 2010.

The title for the film was inspired by Harvard Anthropology professor Kimberley Theidon’s 2004 collected work of essays, Entre Projimos. In her work, Theidon explores the Andean concept of “la teta asustada” which relates to the belief that a child can inherit trauma through their mother’s breast milk, even passing it on to subsequent generations.

The film opens with a dark, silent screen which is broken by the sound of an elderly woman, Perpetua, singing in Quechua. Her song chronicles the trauma she faced when her husband was murdered and she was raped by soldiers during the war. The protagonist of the film and Perpetua’s daughter, Fausta, is an introverted, timid young lady who cares for her mother during her final days and is given the task of planning her burial. As Doug Weatherford continues his presentation, film clips demonstrate the destitution of the suburbs on the outskirts of Lima and the juxtaposition of the urban with the traditional.

As Weatherford explains, the director references Andean themes and motifs, as the protagonists are in fact in the middle of an impoverished urban world as Llosa explores the rough landscapes they inhabit. Weatherford explains that the director begs the question, “Is reconciliation and recovery is possible in these marginalized spaces?”  Through the characters who live in “Los Pueblos Jovenes” surrounding Lima, many of whom are indigenous, female, and impoverished, Llosa explores the literal and figurative marginalization experienced by many Peruvians.  At the same time, the director suggests that in spite of the economic duress suffered by inhabitants of these towns, vitality, beauty, and hope can persist within these harsh environments. Among the themes explored through the film clips, Weatherford illustrates the repeated motif of “circles” and the family as refuge, the bond of attachment, the adaptation of cultures, cultural hybridity, the commercialization of the rural as demonstrated in the wedding scenes, and ritual and celebration as a living cultural archive.

“Margins” are of interest to Llosa, who through her cinematography places Fausta in the margins of Peruvian society, as well as in the margins of her own inhabited environments. Weatherford illustrates this through a series of still-images taken from the film to show Fausta’s disembodiment from society and the internalization of her suffering. Unfinished buildings, and stairs to nowhere in the rough suburban landscape symbolize the hardships faced, both figuratively and literally, by the residents of the Pueblos Jovenes.

As Weatherford explains, Llosa’s presentation of the story is not deterministic, pessimistic, or fatalistic. There always exists the possibility of hope, redemption, and renewal.

Weatherford is followed by Rex Nielson, Assistant Professor of Portuguese at Brigham Young University. Nielson focuses on Lygia Fagundes Telles’ work  As Meninas. The work is as an example of the intellectual tradition in Brazil to fuse literary and aesthetic concerns with Brazil’s social and political realities. Fagundes Telles’ work was published in 1973 during the Brazilian military dictatorship of repression and torture that lasted from 1964 to 1985.

As background for the book, Nielson explains that since 1916, Brazil had been governed by an old civil code. In August 2001, the Brazilian National Congress voted to abolish the old code in favor of a new code that employs gender-neutral language and places husband and wife as equal partners.  Despite the adoption of a new civil code, researchers, including Oxford University Political Scientist, Timothy J. Power, have pointed to a “lingering conservatism” inherent in Brazilian society through deep-seated moral attitudes, suggesting that the old civil code is still entrenched in a political and legal culture entrenched in economies of power, authority, and obedience.

Nielson explains that Brazilian patriarchal family values have their root in the colonial family structure and plantation-based economy where the “senhor de engenho”, or plantation master acted as a disciplinary instrument, not only governing family members, but also a broad network of plantation affiliates, including slaves, mistresses, and illegitimate children. As a result of urbanization and industrialization, family oligarchies began to lose power in early 20th century Brazil. By 1945, some had declared the family as no longer important as a political force.  Despite this, patriarchal constructs of power, authority, and obedience persist and continue to impact Brazilian culture.  Family values and bonds in-line with obedience and conformity were clung to as Brazil struggled to find its identity. In the 1930s, president Getulio Vargas rose to power, leading Brazil for 18 years. Vargas relied heavily on the rhetoric of the family, portraying himself in a fatherly role as the head of Brazil, as he governed the entire country as his family. Ten years after Vargas, the military dictatorship of 1964 invoked patriarchal power to establish its authority, casting dissidents as prodigals through injustice, torture and exile.

Set in the 1960s, As Meninas explores the lives of three young women who are affected by the culture of patriarchy that continued in Brazil during the period of the dictatorship. Through her work, Fagundes Telles explores the family as social group, but also as a system of complex social networks, where people might share proximity but remain emotionally and psychologically isolated.  While fathers are not prominent in the novel, patriarchal shadows lurk in the lives of the three protagonists, Lorena, Lia, and Ana Clara. As Nielson explains, the work is a literary response to Brazil’s systems of patriarchal hierarchy, both as a product of it and as a reaction to it. Even so, the novel avoids explicit critiques of the government.  During this period, authors were careful to avoid reprieve by the government, and the media, in fact, self-censors to conform to government standards. The oppressive effects of long-term media censorship created a cultural void, a gap that literary writers attempted to alleviate as they engaged in social and political criticism through their works. Nielson highlights As Meninas as a form of resistance, highlighting the importance of women’s roles, agency, personal dreams and desires, explaining that the text is the most important work of its time that stands as a challenge to the existing dictatorship.

Rex Nielson asks a question of Doug Weatherford. Nielson’s presentation examined the family in Brazil as an undemocratic institution, while Weatherford’s presentation highlights the family as a source for hope and the future. Weatherford explains that the family is in fact seen as a space of refuge in La Teta Asustada where the extended family protects an individual who has inherited trauma from her mother.

QUESTIONS:

Angela Kinney (Library of Congress) asked Doug Weatherford (BYU) to elaborate on the relationship between the protagonist, Fausta, and the woman she works for, Aida. Aida represents the continuation of the abuse of power that began with the arrival of the Spaniards. Aida exerts economic control over Fausta by granting her one pearl from her necklace for every song she sings in Quechua, echoing the conquest by the Spanish explorers who traded beads for items of value.

Julio Marchena of Libros Peruanos asks both Doug Weatherford and Rex Nielson about the notion of reconciliation in the context of the wars and terrorism in the 1980s. Rex Nielson explains that the film The Year My Parents went on Vacation, explores the tension between the desire to remember and the desire to forget. Nielson also highlights Symphony in White as an example of a Brazilian work that explores “deep forgetting”, or forgetfulness as a form of healing. Weatherford explains that La Teta Asustada does not force any one reading and remains apolitical by focusing on the suffering of the protagonists verses the people who bear responsibility for their suffering.

Moderator: Georgette Dorn, Library of Congress
Rapporteur: David Dressing, University of Notre Dame

Presenters
Rhonda Neugebauer, University of Calfornia, Riverside
Shonn M. Haren, University of Calfornia, Riverside
Collection Mapping and Data Visualization as Tools for Collection Development and Collection Assessment: The Latin American Studies Collection at the University of California, Riverside

Paul S. Losch, University of Florida
The Panama Canal Museum Collection at the University of Florida

Judith Toppin, University of the West Indies, Cave Hill Campus
Linkages, Lineage, and Kinship in the Anglo-Caribbean Family Experience: A Genealogical Case Study

Dorn introduced the speakers

Presentation One

Neugebauer began by introducing the topic that Haren would discuss in greater detail. She noted that Haren compiled the metadata and created the data visualization on Latin American resource collecting at UC Riverside. The hope is that the presentation outlines new ways of analyzing collections and provides fresh ways of viewing one’s collecting history, patterns of development, and other hidden insights. She overviewed the collecting history which began with the opening of the Library in 1953, and the subsequent focused collecting of Latin American materials in the early 1960s. Scholar Ronald Chilcote was an early supporter of the Library’s efforts. Bibliographers with connections to Latin American vendors soon followed with approvals and more professional collecting, and all the complexity involved in selecting targeted materials of interest to campus patrons. The collection is one of the oldest and most utilized in the UC Riverside Library.

Haren then followed and began by noting that the LA American collections at UC Riverside are large and cover a broad swath of disciplinary materials thus making it a good candidate for a data analysis and visualization exercise. Collection mapping is a way of using data visualization techniques to take a picture or snapshot of the collection itself, in order to coherently portray it in graphic or visual form. Haren emphasized that such techniques can help us see the strengths and weaknesses of collections and act accordingly with our limited financial resources. He then went on to explain the technique and method for extracting the data necessary for the visualization performed in this presentation. Collection mapping can be facilitated by IT departments. This exercise focused on LC classifications for History totaling over 40,000 volumes, and represented a sample of their broader collection. Among the points they were able to discern were locations, and language details. Publication locations were widespread but dominated by US imprints. Dates of publication indicate that the collection is primarily 20th century. A slump in publications from the 1970s was perhaps due to the presence of military dictatorships during that period. Other discernable details include country-by-country holdings, and by state or department within each country. Concluding remarks emphasized that such analyzes are quite useful but should be used as an aid by the insightful bibliographer to buttress prudent collecting of library resources.

Presentation Two

Losch presented an insightful talk on the process of acquiring, processing, and contending with donor relations for the recently accessioned Panama Canal Museum Collection at the University of Florida Library. The talk covered these four main points: 1) What is the collection? 2) What is U of Florida doing with it? 3) What are the challenges of integrating a small local history museum into a large academic library? and 4) What are the links between local and Latin American (or hemispheric) history?

So, what is the collection?

In 1998, a group of Zonians (Americans born in the Canal Zone) living in Florida founded the Panama Canal Museum, when it became clear that the canal’s impending transfer would mark the end of an era. In the early 1990s, before the museum came into existence, some individual collections had been donated to academic libraries, including the University of California at Riverside, the University of Texas, and Tulane. The University of Florida benefitted from two small donations of this variety, the Carpenter and the Brookings Collections, received in 1991 & 1993.  Once the Panama Canal Museum came into existence in 1998, it became the magnet for this type of donation and over the next 14 years or so, they recorded receiving over 10,000 items, and they organized various exhibits, mainly with volunteer labor in a rented space.  Despite their best efforts, however, it was not possible to establish a permanent home for the collection, and a study funded by the Institute of Museum and Library Services determined that they should consider finding an academic library to which they could donate their collections.

Interest on the part of the dean and director of the U of Florida libraries led to the collection finding a home there. In broad strokes, the collection consists of over 8,000 photographs, around 1,000 books, numerous periodicals and government publications, unpublished documents, as well as artifacts and artwork (incl. 1,200 molas).

At this time, the Panama Canal Museum Collection is not open for research in the way that other collections are, through the Special Collections Reading Room. Some items are on campus and others are in an off-campus storage facility. There is no comprehensive finding aid that brings together the collection in the traditional sense. The library does attempt to accommodate requests made in advance by researchers. The administrators of the collection are also looking at this collection as an opportunity to try out new technologies and new organizational methods, in part because it already came with a computerized inventory of over 10,000 items, now nearly 16,000, thanks to a crew of volunteers that have been processing new items, and expanding information on existing records

Some of the challenges involved in accessioning this collection include: How to address physical space and preservation issues for varied material types? How to organize it intellectually? How to plan for long term collection management and accessibility to researchers? How to fund the long-term work of processing, exhibiting, digitizing and preserving this collection? A larger question, of interest to the Institute for Museum and Library Studies (IMLS), from which U of Florida Libraries received a grant for managing the collection include: How to integrate a small, private museum – its collections AND its supporting community- into the operations of a large academic library. This last point is very important, not only to UF (and other SALALM Libraries), but to the authorities at the Institute of Museum and Library Services in Washington, because there are actually many other similar cases around the country, where small but valuable cultural repositories, like the Panama Canal Museum, find themselves unable to survive, and need to find a way to pass on their collections to more larger established institutions.  At the same time, public university libraries, like UF, need to adjust during a time of technological and fiscal changes. As a result of the IMLS’s interest, we have received some critical support for our projects related to this collection.

The University of Florida’s focus, as an academic library dedicated to foreign area studies, is on supporting research on topics of broad significance and not necessarily on the “local history” of any particular small American community.  Taking on this collection, and committing ourselves to working with the donors, has presented challenges at times, but it has been worth our efforts, given the unique importance that this particular community had in US-Latin American relations for the whole of the 20th century.  The U of Florida’s Library looks forward to showing off some of that collection starting in August.

Presentation Three

Toppin’s fascinating archival research focused on her own family genealogical background which stretched across several islands of the Caribbean, principally Barbados, and into areas of Guyana on the northern coast of South America. She underscored the challenges of tracking down and properly analyzing the relevant records for doing such history in the Caribbean. The presentation was rich in social, cultural, and economic insights gathered from the case study of her family. Ethnic and racial elements were also heavily highlighted, as well as the vicissitudes of migration and individual personal stories in the area.

Questions: NONE

 

Interlibrary Cooperation Committee Meeting

Saturday, May 11, 2014

Presented by Sarah Buck Kachaluba, Chair

In Attendance: Fernando Acosta-Rodríguez (Princeton University), Judy Alspach (Center for Research Libraries), Sarah Buck Kachaluba, Chair (Florida State University), Paula Covington (Vanderbilt University), Melissa Guy (Arizona State University), Jana Krentz (Yale University),  Paul Losch (University of Florida), Ricarda Musser (Ibero-American Institute), Peter Altekrueger (Ibero-American Institute), Gayle Williams (Florida International University)

This year’s meeting was a brainstorming session seeking feedback on a draft of an outline and new ideas for the book project, Collecting Latin America.  We briefly reviewed how the project came about; that the idea was to produce an anthology which presented an academic argument about the importance of Latin American Specialists for the future of libraries and information organizations now and in the future; discussed ideas already put forth about contents, and added the following additional ideas:

1- Institutional repositories (i.e. digital/online repositories of Latin American Scholarship) – suggested by Peter

2- Liaising/instruction – suggested by Paula

3- Gray literature/ephemera – suggested by Ricarda

4- Collection analysis/assessment – suggested by Paula

We then discussed the timeline and how to move forward.  A revised call for submissions will be issued as soon as possible.