Teal Triggs is a Professor of Graphic Design and Associate Dean at Royal College of Art, London. She spent time at the Ransom Center over the summer exploring materials related to Fleur Cowles with funding from the Fleur Cowles Endowment Fund. She shares some of her findings here.
With the support of the Fleur Cowles Endowment Fund, I was able to spend two weeks at the Harry Ransom Center exploring the personal archive of the journalist, painter, and American socialite Fleur Cowles (1908–2009). As a graphic design historian, my research has focused on the significance of the early 1950s American publication Flair magazine (1950–1951), created and edited by Cowles. The magazine ran for only 12 issues (with a limited-run, 5,000-copy, pre-publication prototype printed in September 1949), yet its influence would continue long after its closure. Whilst the Cowles archive at the Ransom Center is not specifically about Flair, it does contain related materials that provide useful insights into Fleur Cowles’s extensive social network, her commitment to the arts, and importantly for me, her working methods as a writer and editor.
Flair was very much a product of its time, simultaneously created as a response to the growth of specialist magazines and a nod to the new medium of television. As Cowles writes: “I wanted a magazine with ultimate dual reader appeal, male as well as female. And, in the frameword (sic) of television’s allure, I wanted a magazine of extraordinary visual excitement.” Flair achieved this with its unorthodox and experimental die-cut covers, unusual paper stock, tipped-in booklets, and luxurious use of space featuring illustration and photography. Undoubtedly, her editorial vision—signified by a drawing of her trademark rose—pushed the conventions of printing technologies and magazine design. Cowles found this a “thrilling gamble.” The original photographs in the collection show her sourcing paper in Milan and capture her exuberance in creating a magazine that has “a sense of surprise, a joy of discovery, with each new reading.”
As an editor, Cowles fulfilled, but also shaped, her reader’s aspirations. Flair was ultimately a reflection of Cowles’s own “jet-setting” lifestyle, with features on society’s elite, Hollywood celebrities, and exotic travel. The magazine featured those she knew and places she herself had visited, while often showcasing the contributions made by women with careers in politics. Flair was also a space where she expanded on her interest in design, with stories on interiors, architecture, and fashion. The archive material also shows that whilst Fleur promoted a stylized femininity, she was indeed a pioneer in promoting the role and careers of women in journalism and publishing.
Other documents in the collection clarify Cowles’s motivations. Before editing Flair, she was an Associate Editor at Look magazine—a publication owned by her then-husband “Mike” Gardner Cowles. One document that reveals Cowles’s commitment to gender equality is found in a speech she gave to the University of Syracuse and Syracuse Advertising and Sales Club on May 5, 1950. The title of her talk “The Woman in Publishing,” brought a decidedly feminist perspective to America’s publishing history, an aspect of her life I intend to explore further.
The opportunity to see the original magazines alongside supporting documents in the collection including letters, cards, telegrams, speeches, and manuscripts presented a rich context for my research, for which I am very grateful, and which will eventually appear in a book about Cowles’s impact on design.
It was a bitterly cold day in Frankfurt when my wife and I stepped off the plane. Being from Texas, we quickly found that our bodies were not acclimated to the bitter winter winds of Europe. Our cab dropped us off near the central square of the city so we could get some hot spiced wine at the market. On our way back to our apartment, we spotted a public building across the street, the Museum Judengasse, and decided to take a tour and thaw out before braving the rest of the journey. The museum contained the archeological remains of the Frankfurter Judengasse—the Jewish Ghetto of Frankfurt—one of the earliest ghettos in Germany.
About two years later, I encountered something in the stacks of the Harry Ransom Center that brought me back to that cold day. While conducting a search for medieval manuscript fragments used in bindings of early printed books, I came upon a set of four small volumes of German poetry printed in Frankfurt in 1612 and bound in parchment. The parchment contained medieval Hebrew script. I had not yet encountered this phenomenon (I was used to finding texts in Latin), and, although I posted images of the volumes on Flickr, I received no immediate comments. Several months went by and I had almost forgotten about them when one day I happened to mention the fragments to a colleague who suggested that I contact a Hebrew specialist cataloger. I was then put in touch with the proper authorities and within a few days the fragments had been identified. Included are a fragment from a series of commentaries on late antique Hebrew liturgical poetry (dating anywhere from the twelfth to fifteenth century), a page from the table of contents from a circa fifteenth-century copy of a work by Isaac ben Joseph of Corbeil, and fragment from a twelfth–to-fourteenth-century commentary on the Talmud. Having them identified was an exciting example of international collaboration between scholars, but it is the historical context of the fragments that brings this story full circle.
In the sixteenth century, the Jewish community of Frankfurt was one of the most important centers for Rabbinic teaching and spiritual thought. It was also one of the largest Jewish communities in early modern Europe. In 1612 tensions between the town guilds and the patrician class over urban and fiscal policies led to a riot known as the Fettmilch Rising. During the course of the riot the Judengasse, or Jewish Ghetto, was attacked and looted and the Jewish inhabitants were expelled from the city. The volumes at the Ransom Center were printed in the same year as the Fettmilch Rising (1612). Given the looting that took place it is highly probable that the fragments used to cover the printed volumes were sourced from Hebrew manuscripts that had been taken during the riot and then cut up and sold for a variety of purposes—including bookbinding. And so here the volumes now sit, deep in the heart of Texas, a tragic reminder of early modern anti-Semitism in Germany. As an American, it’s often difficult to place these priceless objects in context, and when one does, it tends to have a dramatic effect on the psyche.
Our set happens to be missing two volumes. One can only hope that the other two volumes are still out there intact. This situation underscores why it is important to avoid removing medieval fragments from their bindings. When we do so, the historical context of their use as binder’s waste may be lost. With the power of crowdsourcing and online collaboration, all of the fragments from the original manuscript may someday be reunited in a virtual environment—a happy conclusion to the tragic circumstances of its dispersal many centuries ago.
The post author would like to thank Kevin Auer, Uri Kolodney, Elizabeth Hollender, Ezra Chwat, and Pinchas Roth for their assistance in identifying the Hebrew fragments.
R. Colin Tait, a Ph.D. candidate at The University of Texas at Austin, has used the Ransom Center’s Robert De Niro collection as the basis for his dissertation, “Robert De Niro’s Method: Acting, Authorship and Agency in the New Hollywood (1967–1980).” Tait argues that De Niro has been a major intellectual and creative contributor to the world of film and acting and writes about his research in the De Niro archive. Tait shares how the papers reveal the actor’s commitment to his craft with examples of his “meticulous research, collaborations with directors, and extreme bodily transformations.”
In the above video, Tait discusses De Niro’s place in the film canon.
Heidi Kimis an assistant professor of English and Comparative Literature at the University of North Carolina at Chapel Hill. She visited the Ransom Center in December 2012 on a travel fellowship to research her monograph in progress, Invisible Subjects: Asian America in Postwar American Literature.
Some archival trips, like my recent trip to the Harry Ransom Center, are highly directed expeditions. I was on a mission to look at the revision of specific sections of John Steinbeck’s novel East of Eden (1952). But there is also always the pleasure of the archive, given time and an extensive collection like the Ransom Center’s, which draws a researcher to explore the small pieces of an author’s oeuvre that can shed light on the concerns of his more famous works.
One of the detours I took was to look at a piece of Steinbeck’s with which I was not familiar, a minor feature in the short-lived but highly ambitious fashion magazine Flair(the Ransom Center holds a rare, complete set of its run). In Flair’s July 1950 “All Male Issue,” several famous men, including child actor Brandon de Wilde and industrial designer Raymond Loewy, were asked to draw and describe their ideal woman. Steinbeck drew a curvaceous nude, a sketchy, muscular outline emphasizing her attributes. The caption read:
“Novelist John Steinbeck snorted as he drew, sounded off: “Guys that talk about the ideal woman just don’t like women. I don’t want an ideal woman. I just like dames. Anyway, the ideal woman is for kids. I think a couple of centuries from now people are going to look back on these times and think all babies were born from mammary glands…”
For any Steinbeck scholar, this brings up an all-too-familiar debate about his unrealistic or misogynistic depictions of women—certainly a fair critique in some respects. However, through this almost defiantly sexualized sketch, Steinbeck was also exploring a growing concern about the repression, conformity, and over-civilization of the postwar era, popularly identified with the 1950s. In his mind, this was far more perverse than the healthy animal sexuality and physicality he extolled in his 1930s naturalist works, sometimes to a degree that readers found uncomfortable. The best-known example is the ending of The Grapes of Wrath (1939), in which the character Rose of Sharon, who has just had a stillborn baby, breastfeeds a half-dead, starving man and smiles mysteriously.
I’m skeptical of Steinbeck’s flippant claim that he was “just” drawing a dame rather than an ideal woman, and that the ideal woman is “for kids” (implicitly only for kids). A domesticized dame who can make a home and family was decidedly his ideal woman, as embodied by Abra in East of Eden. She likes to cook and is also a “straight, strong, fine-breasted woman, developed and ready and waiting to take her sacrament,” that is a sexual awakening from her boyfriend, who is living in an ecstasy of religious purity. Similarly, Suzy, the prostitute with a heart of gold in Sweet Thursday (1954), is no good at “hustling” because she is “too small in the butt and too big in the bust,” a state of body that reflects her state of mind: affectionate, faithful, and nurturing. Steinbeck’s heroines have generous hearts and generous bodies.
This is not simply objectification; as a naturalist (or post-naturalist) writer, Steinbeck depicts one facet of danger to mankind as the unfitness or unwillingness to bear and nurture in a harsh world where, in Darwinian fashion, fertility of land, women, or even mind contributes to survival. As with animals, human fitness must be shown physically. The purely evil Cathy of East of Eden has a boyish body with undeveloped breasts that do not enlarge even during her unwanted pregnancy, seemingly through sheer willpower. Her body mirrors her stunted moral sense and her deviant use of sexuality as power, and symbolizes how unfit she is to be a force of good in Steinbeck’s myth-inflected narrative. In death, her already insufficient body vanishes from life and human history: “And then her eyes closed again and her fingers curled as though they held small breasts. And her heart beat solemnly and her breathing slowed as she grew smaller and smaller and then disappeared—and she had never been.”
In 1958, Andre Dubus graduated from McNeese State University in Louisiana and joined the U. S. Marine Corps, thinking it would be “a romantic way to make a living as a writer.” Buoyed by a distinctive voice and a natural ebullience, Dubus’s work enjoyed moderate initial success. After six years in the Marines, he entered the Iowa Writers’ Workshop at the University of Iowa, received his MFA, and completed his first and only novel, The Lieutenant. From then on, he devoted himself to the art of the short story.
But it was tragedy that spurred his transformation as a writer and brought his works a broader readership. In 1986, on a highway outside of Boston, he stopped to help two motorists who had stalled in the middle of the lane. A passing car struck Dubus, severely injuring both his legs, one of which required amputation above the knee. He spent the remainder of his life in a wheelchair. Following the accident, his marriage ended, and he battled with depression.
Fortunately, Dubus continued to write after his injury, and the result was met with much critical acclaim. The notebooks Dubus kept while recovering in the hospital—which include drafts of stories—are just a few of the items found in Dubus’s archive, which has opened for research at the Ransom Center.
To help with Dubus’s mounting medical bills, a group of authors including Kurt Vonnegut, John Irving, Ann Beattie, John Updike, Richard Yates, and Tim O’Brien read from their works in a public benefit for Dubus. He later wrote to thank the participants because they “made me feel, during a very bad time, that I had hundreds of friends I didn’t even know.” In 1988, he published a book of Selected Stories and won a MacArthur fellowship. Three years later, he published a collection of essays titled Broken Vessels, many of which focus on the accident and aftermath. In a 1996 interview, he said, ”My condition increased my empathy and rid me of my fear of disability and misfortune.”
In addition to his notebooks of drafts and short story ideas, the papers of the Dubus collection include family correspondence and a series of journals chronicling his thoughts, personal and religious exercises, and housekeeping notes. The items span from 1925 to 2001.
His son, Andre Dubus III, a graduate of The University of Texas at Austin and fellow author, spoke of his father’s affinity for the city and university where his papers are now housed. Dubus received from his son a LONGHORNS DAD sticker, which he applied to the back of his writing chair. The younger Dubus reflects: “Sometimes I’d walk into his room before he was finished working, and I’d see my Longhorn father hunched over his desk, writing slowly in pen into a bound notebook, composing one of his masterful stories, all of which will now be in Austin.”
Janine Barchas is an associate professor of English at The University of Texas at Austin. Barchas used the Ransom Center’s collections as she conducted research for her book Matters of Fact in Jane Austen: History, Location, and Celebrity, published this past fall by John Hopkins University Press. She writes about working in the collections and how they guided her research.
Did I do a lot of research for my new book Matters of Fact in Jane Austen in the Harry Ransom Center? You bet!
True, many eighteenth-century books and newspapers can now be read online from the comfort of one’s home computer—and without having to attend to the time-consuming niceties of personal hygiene. As literary historians, we have books and documents at our fingertips (literally) that even five years ago demanded trips to far-flung scholarly libraries. E-tools are making historical research faster while also raising the bar of scholarship—since the skill is no longer in the mere finding.
In Matters of Fact in Jane Austen, I argue that Austen’s novels allude to actual high-profile politicians and contemporary celebrities as well as to famous historical figures and landed estates. As the book’s jacket asserts, the “extensive research into the names and locations in Austen’s fiction” takes “full advantage of the explosion of archival materials now available online.”
Digital archives—scholarly databases as well as open resources such as Google Books and even Google Maps—were indeed a great boon to my research. Still, new e-tools do not replace traditional archival spelunking. Nothing beats the targeted serendipity of researching in the collections of a truly great library. In the end, my proximity to the Ransom Center proved just as great an advantage as the e-revolution.
I’ve been asked to identify a few Ransom Center items that shaped, propelled, or redirected my research into Jane Austen. I picked three: one book, one map, and one manuscript.
1) A BOOK
Humphry Repton’s Observations on the Theory and Practice of Landscape Gardening, Including Some Remarks on Grecian and Gothic Architecture. London: Printed by T. Bensley for J. Taylor, 1803. [-Q- SB 471 R427 HRC WAU]
The celebrity landscaper Humphry Repton is mentioned by name in Austen’s Mansfield Park (1814), a novel slightly critical of the fashion for so-called “improvements” that would fell ancient trees just because they were planted in an unnaturally straight line. The Ransom Center owns Evelyn Waugh’s copy of Repton’s watershed Observations. It is a favorite show-and-tell piece among the Center’s curatorial staff, since the hand-colored illustrations have unique folding flaps that show the “before” and “after” views of the changes that Repton wrought at great estates and at great expense. The front of the book also boasts a list of the clients whose estates are mentioned as “examples” by Repton—his resume, as it were. Austen’s cousins, the Leighs of Adlestrop, appear among this client list. The complete list is a virtual who’s who of England’s wealthy and their landed estates. When, among Repton’s list of Britain’s most fashionable landowners, I recognized the telltale names of Austen’s leading men and women (including Dashwood and Wentworth), I began to wonder whether, long before James Joyce plucked names from city directories, she too had used works like Repton’s Observations as inspiration.
2) A MAP
“The N.W. Bank of Soundings by Captain F. W. Austin R.N. in 1808.” Published by the Hydrographic Office, 1816.
Slowly, I came to believe that Austen’s street names in, for example, Northanger Abbey and Persuasion are not casual throwaways to mark the urban setting of Bath generally but compact interpretive clues that reward those with particular knowledge of such locations. At the Ransom Center, I pored over old maps and guidebooks—first of Bath, then Lyme Regis, and other locales mentioned in her stories. Hearing of my Austen research and my queries about old maps, librarian Richard Workman showed me a map of the island of St. Helena, published in 1816 by the Hydrographic Office, which is (in spite of the spelling variation) based upon the painstaking coastal measurements, or “soundings,” taken by Jane Austen’s seafaring brother Frank (Francis William Austen), a ship captain in the Royal Navy in 1808. The existence of Frank’s chart of St. Helena suddenly suggested the larger cartographic sensibility that surrounded Jane Austen. If Austen maps her fictional characters with uncanny precision, she may have gleaned this impulse from another cartographer in her family. While this map was not direct evidence, it offered a larger historical and family context for Austen’s own cartographic exactitude.
3) A MANUSCRIPT
Letter by James Edward Austen-Leigh (1788–1874) to Mr. Cheney, dated April 14, 1870.
Some years ago, in preparation for my first University of Texas class on Austen in 2005, I flipped through the manuscript card catalogue under “AUSTEN, J,” on the off-chance that the Ransom Center owned an actual letter by Jane Austen. It does not. Instead, I found a letter by Austen’s nephew and family biographer, James Austen-Leigh, who published his Memoir of Jane Austen in 1870. When I read it, I was surprised and intrigued. On the face of it, the note is a rather obsequious thank-you for “a kind letter of approbation” about his memoir, received from the brother of a former schoolfellow. In 2009, Deirdre Le Faye identified the recipient as Edward Cheney (1803–1884), whose brother was Robert Henry Cheney (1799–1866). The short letter also asks Cheney whether the cancelled Persuasion chapters should be published in a future second edition of the Memoir. Most suggestively, Austen-Leigh’s letter alludes to the difficulties of finessing the biography of his aunt:
In treating of a subject so mixed up with private matters, I have been chiefly anxious, by no means to offend, and, if possible, to satisfy my own family, & those old personal friends whom, next to my own family, I care most for.
He hints at the polite need to “satisfy” family feeling and keep “private matters” out of the biography. Is this letter a smoking gun? Since Cassandra Austen burned the bulk of her sister Jane’s letters, we know precious little about the author’s private life. Did family members who lived well into the Victorian age help whitewash and starch Austen’s reputation into the prim spinster of record? What might she have seemed like to us now if such “private matters” had not been finessed, repressed, and burned? In sum, this stray letter first sparked my interest and led to questions about what may have been willfully lost in the critical reception of her work.
Finally, in addition to tracking specific research leads, my work in the Ransom Center included old-fashioned reading pleasures. I cherished being able to touch the Austen family copies of Jane’s own novels that miraculously made their way from Chawton to Texas. I carefully turned pages in worn copies of Steel’s Navy List, where I searched, like the Musgrove sisters in Persuasion, for the names of ships, including those of Austen’s sailor brothers. In old editions of the Baronetage, I deciphered the cramped marginalia of former owners who, like the fictional Sir Walter, annotated their copies with details of deaths, births, and notable events. Maps in old guidebooks unfolded to show me the tourist sites of Bath as Austen would have known them in 1801, when her family relocated there. I even turned pages in the same books that Austen borrowed from the library at her brother’s Godmersham estate! No mere screen experience provides this type of thrill.
Please click on the thumbnails below to view full-size images.
Shaun Stalzer is a graduate student in the School of Information at The University of Texas at Austin specializing in special collections librarianship. He earned his master’s degree in American history from Texas State University in San Marcos, and his research interests include the history of American theater. Here, he discusses a manuscript he studied as part of a rare books class in the School of Information.
The Harry Ransom Center holds an extensive collection of rare Italian manuscripts, printed materials, engravings, etchings, woodcuts, watercolors, and papal bulls from the Ranuzzi family of Bologna, Italy. The collection spans some 400 years and provides insight into the social, political, and cultural history of Europe.
The Ranuzzi manuscript Monarchia Solipsorum: ad virum clarissimum Leonum Allatium is a seventeenth-century manuscript written entirely in Latin under the pseudonym Luceus Cornelius Europeus. It details the adventures of a hero who becomes judge and advisor to the fictious monarch Vibosnatus, to satirize the Jesuit order. In the end, the hero becomes victim to a plot that costs him his position and forces him into exile.
The original manuscript was written in 1645 in Venice, Italy, and published in Latin in 1645 and 1648. The workwas later translated into French and published in Amsterdam in 1722 and 1754 by Herman Uytwerf, and also published in Paris by the publishing house of Barrois and Delaunay in 1824.
Scholars debate whether the original manuscript was written by Giolio Clemente Scotti (1602–1669) or Melchior Inchofer (1585–1648). Little information exists on Giolio Clemente Scotti, but he is known for his later anti-Jesuit writings, including his 1646 work De Potestate Pontificia in Societatem.
Far more information is available on Melchior Inchofer, a Jesuit scholar who gained notoriety as one of three experts in the 1632 trial of Galileo and his controversial work “Dialogo sopra i due massimi sistemi del mundo” (Dialogue Concerning the Two Chief World Systems), a defense of the heliocentric model of the universe. Inchofer reported on the Dialogo prior to the trial and in 1633 also authored Tractatus Syllapticus, a scriptural defense of geocentrism. This is interesting because, according to one scholar, Inchofer later became the author of Monarchia Solipsorum, which is highly critical of the Jesuit order (and therefore of traditional church doctrine). Inchofer also underwent his own trial and condemnation in 1648 for his alleged authorship of Monarchia Solipsorum. Under interrogation, Inchofer broke down and confessed to writing the manuscript. He was stripped of his position in the Jesuit order, sent to Milan, and later died on September 28, 1648. This controversy is one of the main reasons for the book’s tremendous success and repeated publication over the years.
Monarchia Solipsorum is an interesting work for anyone studying Italian history, literature, or culture. The manuscript is particularly relevant for those seeking information on Catholic Church history, critical reactions to Catholic doctrine, or those interested in the trial of Galileo in 1632. Such a work can also appeal to those fascinated by rare books and manuscripts and the art of bibliography.
Margaret Denny received a Marlene Nathan Meyerson Photography Fellowship to conduct research in the Ransom Center’s Gernsheim collection. Below she shares some of her findings at the Ransom Center.
During the past decade, I have conducted primary research on Victorian women in photography, an investigation that culminated in my dissertation From Commerce to Art: American Women Photographers 1850–1900 (University of Illinois at Chicago, 2010).
My current project For Love and Money: Victorian women photographers in and beyond the studio follows a select group of nineteenth-century American and British women photographers operating in the commercial realm of advertising, photojournalism, studio portraiture, and travel photography. The importance of this investigation is that current scholarship on the history of photography has diminished the importance of commercial work; it likewise has overlooked women in the commercial sphere.
With a fellowship at the Ransom Center, I have progressed closer to realizing my project as a publication. In pondering this experience, several impressions stand out—the Center as a rich repository of photographs and ephemeral materials, and, co-equal, the Center’s proficient staff members and systems that provide a stimulating, nurturing, and collegial environment in which to explore one’s topic. Through the proficient and patient stewardship of Emilio Banda and suggestions proposed by Senior Research Curator Roy Flukinger and Associate Curator of Photography Linda Briscoe Myers, I was able to navigate smoothly through box upon box of photographs, biographical material, and memorabilia. Even the tradition of weekly coffees and a brown bag lunch for fellows offers scholars and staff opportunities to exchange insights and information.
The Gernsheim collection of Victorian and Edwardian photography amassed by Helmut and Allison Gernsheim in England at the end of World War II and purchased by the Harry Ransom Center in 1963 became the focus for this study. The collection holdings present a rich glimpse into elite British society through the studio portrait practice of Alice Hughes. I viewed the wealth and breadth of photographs made by Hughes at the turn of the twentieth century in her London studio. Having researched Hughes at the National Portrait Gallery in London, it was beneficial to evaluate this expansive number of photographs to build on my earlier inquiry.
Another chronicler of Britain’s elites, Kate Pragnell operated commercially in London in the 1890s. The Center’s illustrated article on Pragnell showed her photography in more of its original context. The fact that Pragnell hired only women workers in her studio and wrote about her practice makes her an interesting case study. These British women will be compared with the American photographers Frances Benjamin Johnston and Gertrude Käsebier as they shared the experience of being middle- to upper-class women who chose photography as a vocation. To investigate the media treatment of American and British women photographers, I reviewed issues of The Photogram published in England between 1894 and 1905 by American Catharine Weed Barnes Ward and her British husband H. Snowden Ward. Likewise, as a comparison to understanding opinions emanating from other journals of photography, I examined the issues of Alfred Stieglitz’s Camera Work, published from 1903 to 1917.
Equally germane to my investigation, the Center’s holdings contain over 350 photographs by British photojournalist Christina Broom. A documentarian of Edwardian fame, Broom photographed important British events from military maneuvers to Royal pageantry, most printed as picture postcards, a business that supported her family facing the loss of household income after her husband’s accident. In my project, Broom will be compared to Frances Benjamin Johnston, who operated as a photojournalist working with Bain News Service in America. Johnston’s assignments took her to Naples, Italy, where she photographed Admiral Dewey and his U.S.S. Olympia crew following their successful campaign in the Philippines during the Spanish American War. Equally notable, Johnston was the last photographer to photograph President McKinley, 17 minutes before his assassination in 1901.
As a seasoned researcher at a number of institutional archives, I feel the time spent at the Ransom Center put me in a more positive position to take my findings to publication. Because the staff made research suggestions beyond my original itinerary, I will be able to incorporate even more information in the study. As I continue to research the topic of women photographers of the Victorian Era into the Edwardian period, my larger goal is to develop the information into book format supported by a traveling exhibition. Having the opportunity to conduct research at the Ransom Center and to develop the narrative of women in the commercial realm of photography places me one step closer toward the realization of this major undertaking.
Judith Freeman, a fellow from the University of Southern California, discusses her research in the Ross Russell archive. Freeman’s focus lies primarily with noir, Raymond Chandler, and Los Angeles, but her time in the collections expanded her interest in jazz.
Freeman’s project, “Raymond Chandler’s Los Angeles,” was funded by the Erle Stanley Gardner Endowment for Mystery Studies.
Samantha Pinto came to the Ransom Center as a fellow from Georgetown University to work on her project “Africa, (Re)Circulated: Cosmopolitan Performances of Mid-Century Modernity.”
Pinto’s research, which focuses on the United States’s perception of Africa, involved documents and multimedia components from the Transcription Centre archive. The materials from the archive related to Africa are in their own finding aid, which Pinto says will make the Ransom Center a destination for students and scholars in the field of African and African Diaspora studies.
Pinto’s work was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment.