Course:ARST573/Literary Archives

From UBC Wiki

Literary Archives can be found in libraries and archival repositories throughout the world and contain materials associated with authors and with the production of works of literature.[1] These materials are either donated or sold to repositories by the authors themselves, the author's family, publishers, or book dealers. Literary archives are most often found in large repositories, such as government or university archives and libraries, which hold a variety of materials beyond literary. Some are also found in repositories which focus on a single author, such as the Folger Shakespeare Library.


Materials in Literary Archives

United States passport of Ezra Pound issued 1919, from the Beinecke Rare Book & Manuscript Library, Yale University

Literary Archives contain a wide variety of materials. Usually, literary manuscripts will be among the holdings. The Society of American Archivists (SAA) defines a manuscript as: “1. A handwritten document; 2. An unpublished document; or, 3. An author's draft of a book, article, or other work submitted for publication.”[2] SAA further clarifies that literary manuscripts can be “[d]rafts, notes, worksheets, manuscripts, proofs, and other materials commonly associated with the production of creative works, including fiction, poetry, plays, still or motion pictures, and other works.”[3] These documents can come from any stage in a work’s life: pre-composition (such as notes and sketches), composition (such as rough drafts), pre-publication (including reworkings of the manuscript), post-composition (such as editor’s and printers’ proofs), and post-publication (which would include the author’s annotations in the published copy).[4]

Literary archives may also contain any other material accumulated by the author or publisher, including letters, diaries, audio-visual material, electronic records, printed sources (such as an author’s annotations in books or newspaper clippings), legal documents, and objects (such as typewriters, pens, or even passports, as demonstrated in the image to the right).[5]

History

The majority of literary archives in the United States were formed after World War II, due to both new trends in literary scholarship and to the post-war expansion and development of American universities. With the rise in the 1930's of New Criticism, a literary theory that emphasized close reading of the text over historical and social contexts, scholars and students became increasingly interested in manuscripts, especially those of contemporary authors.[6] In 1935, the Lockwood Memorial Library at the University of Buffalo, New York, shifted its policy to acquire only the papers of living poets.[7] In the early 1950's, Harry Huntt Ransom, an English Professor at the University of Texas at Austin, set out to create a "Biblioteque Nationale" for his state.[8]

Harry Ransom Center, Larry D. Moore CC BY-SA 3.0

The Harry Ransom Center was officially established in 1957 and remains today one of the largest repositories for contemporary literary archives.

In the United Kingdom, literary archives collection practices developed in a slightly different manner. For the first half of the century, institutions continued to collect, with a few exceptions, only the papers of writers who had passed away.[9] The archives of modern and contemporary writers went either to private collectors or to the institutions in the US who were, as discussed above, building out their holdings with contemporary material.[10] In the 1950s, concern over this migration of UK cultural artifacts overseas began to grow. One of most vocal individuals in this movement was the writer and librarian Philip Larkin.[11] In 1958, Larkin brought the issue to the attention of the public when he wrote about it in the Times Literary Supplement.[12] Larkin found support in Standing Conference of National and University Libraries,[13] the British Museum’s Manuscripts Department, and the Arts Council[14] and, in 1963, the National Manuscripts Collection of Contemporary Poets (NMCCP) was established to provide funding incentives to institutions to purchase the papers of contemporary poets.[15] The focus of NMCCP was later expanded to include not only the papers of poets, but of other literary writers as well.[16] Though the NCCMP was dissolved in 1979, it succeeded in bringing the papers of many British writers into UK repositories.[17]

The UK Literary Heritage Working Group was formed in 2005 to continue this battle to keep British literary and artistic archives in the UK.[18] One of the group's main strategies has been to fight for new tax benefits for sales of living writers’ papers.[19] Currently in the UK, the sale of one’s papers to an archives is considered a source of income and so is subject to income tax. Were a writer to sell his or her papers instead to an American institution, they would be able to do so tax free.[20] Details of the Heritage Group's proposed tax incentives can be read here.

Literary Archives in the 21st Century

As with many other archival repositories, most literary archives repositories are receiving increasing quantities of born-digital material. This is particularly relevant in regards to manuscripts, as these are now produced on computers rather than typewriters or written by hand. This means that the management of literary manuscripts, as well as the scholarly study of them, is changing.[21] The following case studies illustrate some of the unique challenges faced by repositories and their solutions for managing digital records.

Case Studies

Salman Rushdie
Salman Rushdie Archives at Emory University

In 2006, Emory University's Manuscripts, Archives, and Rare Book Library (MARBL) purchased the archives of author Salman Rushdie. Included in his archives were letters and other paper materials, as well as a number of digital files, and even entire computers on which he worked.[22] The archives represents "the entire digital life" of this well-known author. To manage this hybrid collection, MARBL created a searchable database, as well as complete emulations of the Rushdie's computers, including the files, file structure, and programs, that allow researchers to see and experience the files as Rushdie did when he worked on them.[23] A video demonstrating these workstation emulations is available here.

Michael Joyce Archives at the University of Texas at Austin

The University of Texas' Harry Ransom Center acquired the archives of author Michael Joyce in 2005.[24] Joyce has published both print and hypertext works, and records for both are included in the Ransom Center's collection, including computers on which he worked. As with the Salman Rushdie archives at Emory University, the Ransom Center wanted to preserve not only the digital files, but also assure that the programs and software he used would be accessible to researchers as well. In order to achieve this with the Joyce archives, as well as other digital materials, the Ransom Center has established a unique relationship with the University's School of Information program. Graduate students have been processing Joyce's records in batches since their acquisition.[25] To manage and preserve its digital materials, the Ransom Center stores them in a DSpace repository hosted by the School of Information.[26] DSpace is a free, open-source software that " preserves and enables easy and open access to all types of digital content including text, images, moving images, mpegs and data sets."[27]

Management of Literary Archives

Acquisition and Appraisal of Records

Literary archival material can come from a number of sources. Sometimes they are donated to a repository, either by the author while still alive, in the author's will, or by the author's family after he or she has passed away. Since the later half of the twentieth century, it has become increasingly common for authors to sell their papers to archives.[28]. The appraisal of literary archives presents challenges unique to this type of material. Because authors are often quite venerated, it may be considered wrong to discard any records of an author. Also, the records of authors are often fragmented, scattered among different repositories as they passed through different collectors or were sold in bits and pieces by the author. The composition of an authors archives can also present appraisal challenges. The archives of different authors can vary greatly in the types of materials they contain, and deciding where the boundary lies between relevant literary archival material and irrelevant personal accumulations can be difficult.[29]

Arrangement and Description of Records

For many years, literary archives were catalogued in the same or similar manner as library books: every item was given a classification number and description. This practice began to change, however, as archival theory developed and as the size of authors' archives grew.[30] Theodore Schellenberg was one of the early advocates for applying archival principles to personal papers and moving away from treating them with library techniques. In his 1965 book, The Management of Archives, he asserts that “the principles and techniques now applied to public records may be applied also, with some modification, to private records, especially to private manuscript material of recent origin, much of which has the organic character of archival material."[31] What makes an author's archives different from those of other private archives, however, is that they represent a creative process and, according to some archivists, including Catherine Hobbs[32] and Judy Dicken[33], this process is important to capture when arranging and describing an author's records.

In an effort to standardize the arrangement and description of literary archives, the Group for Literary Archives & Manuscripts has created a set of draft guidelines for doing so. These guidelines, which are currently available on their website and open to comments from members, are "intended to act as guidance for describing archives with literary content, irrespective of the form or medium of the material...The guidance is not intended to be a definitive set of standards, but a source of help for those who wish to provide consistent descriptive catalogues for literary collections. It should develop as needed. If used consistently the guidance should also enable exchange of information between organizations and the unification of information from different sources on literary archives."[34]

Copyright and Privacy Concerns

Issues surrounding copyright laws, access rights, and the protection of privacy are of constant concern to archivists, and literary archival material presents its own unique challenges in relation to these issues. Though copyright laws vary from country to country, a number of common concerns exist.[35] The sections below will focus on copyright in relation only to literary archives. For information about copyright and archives in general, see Archives and Copyright.

History of Literary Copyright

Before the establishment of copyright laws, authors generally had little to no control over how their work was used and distributed. Rather, the right to profit and re-distribute a work was more closely aligned with physical property than with intellectual property. The work of playwrights, for example, was the property of the theatre, not the writer. Moreover, theatre goers could copy down the lines from the play and redistribute them.[36] Up until the first copyright act in 1710, any litigation and legislation around literature was done on the behalf of book sellers and publishers, not authors.[37]

In 1710, Britain passed An Act for the Encouragement of Learning (also known as the Statute of Anne), the first copyright law in the world, and introduced the idea of providing authors rights to their work. Under this Act, registered works were copyrighted for 14 years, with an additional 14 years available if they were re-registered. With the establishment of the international Berne Convention of 1886, copyright was changed to be based instead on the date of death of the author. The Berne Convention called for copyright to last until 50 years after death. Since then, the amount of time that a work remains copyrighted has been extended in most countries to various lengths of time.[38]

Current Copyright and Access Concerns

Literary archives present unique concerns regarding access and copyright enforcement. Some of the aspects of literary archives that create these unique concerns are:

  • Literary materials often end up in repositories outside their country of origin and so may be subject to copyright laws of more than one country.[39]
  • Ownership of literary copyrights can have higher value than that of other archival material, which can make dealing with literary estates more difficult. Because copyright owners may seek to profit from the materials, they may want to impose more restrictions.[40]
  • Similarly, authors and their heirs may have a particularly large concern for their reputation, and so may want to put restrictions on the material.[41]
  • A single author’s papers are likely to be distributed in a number of repositories, making many research efforts difficult. This makes digitization an especially important option for literary archives so that the entirity of an author's archives, though geogrpahically dispersed, could potentially be accessed from a single place. If material is copyrighted, however, it cannot be digitized without clearance from the copyright owner.[42]

Determining who holds copyright on any archival material can be complicated, as it is often not documented. To assist with this task for literary archives, an initiative called Writers, Artists and Their Copyright Holders (WATCH) has been undertaken by the University of Reading and the Harry Ransom Center at the University of Texas at Austin. WATCH provides a searchable database of the copyright contacts for authors and artists, as well as any other copyright information available. WATCH was started in 1994 and is copyright information is continually added to it.[43]

Privacy Concerns

The protection of an author’s privacy is also a concern of archivists. Unfortunately, there are no set guidelines for determining what from a document is considered private and in need of being restricted. Privacy concerns are uniquely difficult to determine in literary archives for a number of reasons. First, authors are often public figures with a certain degree of celebrity. This generates increased interest in learning the private details of their lives. Second, the content of authors’ archives is often personal in nature.[44] Researchers may argue, however, that even these personal materials are related to the author’s production of literary work, and so are important to be used in research.[45] Finally, authors’ papers are increasingly being acquired while he or she is still alive, and often the author will want to place strict access restrictions on the material.[46]

Professional Associations and Groups

Diasporic Literary Archives

The Diasporic Literary Archives is an international network of literary archives repositories and archivists, led by the University of Reading. The network "aims to promote international collaboration in the preservation of, and access to, literary archives" by bringing together "a group of established scholars and experts from a variety of institutional backgrounds, and across different disciplines and regions, to initiate a context in which to practice and scrutinise methodological and conceptual frameworks."[47] The group hosts workshops around the world to achieve this mission.

Group for Literary Archives & Manuscripts

The Group for Literary Archives and Manuscripts (GLAM) formed in 2005 to "bring together archivists, librarians, curators, writers, researchers, and anyone else with an interest in the collecting, preservation, use, and promotion of literary archives and manuscripts in Britain and Ireland."[48] It was founded with the belief that the collection and management of literary archives is sufficiently unique from other types of archives to necessitate its own unique professional network. The group, which currently has over 80 members, has engaged in a number of projects, including a survey of literary archive and manuscript holding in the UK and Ireland and cataloging guidelines for literary archives. It also maintains a blog on its website.

Group for Literary Archives & Manuscripts, North America

The Group for Literary Archives and Manuscripts, North America (GLAM(NA)), was created in 2010 to "bring together individuals and organizations responsible for the creation, stewardship, and use of literary archives, with the understanding that these parties have common interests and concerns."[49] GLAM(NA) seeks to provide a forum for collaboration and discussion, encourage partnerships, provide resources, and address various legal and ethical issues that relate to literary archives.[50] The group hosts symposia, maintains a news feed and bibliography, and undertook a survey of literary archives users.

International Council on Archives Section on Literary and Artistic Archives

This Section on Literary and Artistic Archives (SLA) was re-launched in 2009 "to communicate the cultural value and the magic of literary and artistic archives, and to create a worldwide network of archivists and users." SLA aims to "share information about the locations and the diverse nature of literary and artistic collections around the world" and to "share best practice about cataloguing, storing, exhibiting and promoting these cultural archival treasures."[51]

UK Literary Heritage Working Group

The UK Literary Heritage Working Group was established in 2005 to respond to concerns that a large quantity of papers of authors from the United Kingdom were being sold to repositories in other countries. The group works to “explore the issues surrounding their dispersal and to take forward a national strategy” through raising public awareness of the value of literary archives, lobbying for tax incentives that would encourage authors to give their papers to UK repositories, and providing guidance to authors on how to handle their archives.[52]

Literary Archives Repositories (Partial List)

United States
American Academy of Arts and Letters, Manuscript Collection
Arizona State University, Department of Archives and Special Collections
Boston College Libraries, Burns Library
Boston University Libraries, Howard Gotlieb Archival Research Center
Bowling Green State University, Center for Archival Collections
Brandeis University Libraries, Robert D. Farber University Archives & Special Collections Department
Brigham Young University, Special Collections - Literary Manuscripts
Brown University Library, Special Collections
Claremont Colleges Library, Special Collections
Colby College Libraries, Special Collections
Colgate University Libraries, Rare Book and Manuscript Library
Columbia University, Rare Book and Manuscript Library
Cornell University Library, Division of Rare and Manuscript Collections
Dartmouth Colege Library, Rauner Special Collections Library
Drew University Library, Special Collections and University Library
Duke University Libraries, Rare Book, Manuscript and Special Collections Library
Emory University, Manuscripts, Archives & Rare Book Library
Folger Shakespeare Library
Free Library of Philadelphia
Georgetown University Library, Special Collections Research Center
Goucher College Library, Special Collections and Archives
Hamilton College Library, Special Collections
Harvard College Library, Houghton Library
Hemingway Archive, John F. Kennedy Presidential Library & Museum
Hollins University, Wyndham Robertson Library
Huntington Library
Kent State University Library, Special Collections and Archives
Kenyon College Library, Greenslade Special Collections and Archives
Leo Baeck Institute, Archives
Library of Congress, Manuscript Division
Marquette University Library, Department of Special Collections and University Archives
Michigan State University Library, Special Collections
Morgan Library and Museum
New York Public Library, The Henry W. and Albert A. Berg Collection of English and American Literature
New York University, Fales Library and Special Collections
Newberry Library
Northern Illinois University Library, Department of Rare Books and Special Collections
Northwestern University, Charles Deering McCormick Library of Special Collections
Oberlin College Library, Special Collections
Ohio State University, Rare Books and Manuscripts
Ohio University Libraries, Archives and Special Collections
Oregon State University Library, Special Collections
Pennsylvania State University Library, Special Collections Library
Princeton University Library, Special Collections
Rosenbach Museum and Library
Rutgers University Libraries, Special Collections and University Archives
Shubert Archive
Smith College, Mortimer Rare Book Room
Stanford University, Special Collections and University Archives
State University of New York at Binghamton, Special Collections
State University of New York at Buffalo, Lockwood Memorial Library
State University of New York at Stonybrook, Special Collections and University Archives
Syracuse University Library, Special Collections Research Center
Temple University Libraries, Special Collections
Texas State University Library, The Wittliff Collections
Thoreau Institute at Walden Woods
University at Albany, State University of New York, M. E. Grenander Department of Special Collections and Archives
University of Arizona Libraries, Manuscript Collections
University of Arkansas Libraries, Special Collections
University of California Berkeley, Bancroft Library
University of California Irvine, Department of Special Collections
University of California Los Angeles, William Andrews Clark Memorial Library
University of Chicago Library, Special Collections Research Center
University of Cincinnati Libraries, Special Collections
University of Connecticut Libraries, Thomas J. Dodd Research Center
University of Delaware, Special Collections
University of Florida, George A. Smathers Libraries
University of Illinois at Urbana-Champaign, Rare Book and Manuscript Library
University of Indiana, Lilly Library
University of Iowa, Special Collections
University of Miami, Otto G. Richter Library
University of Michigan, Special Collections Library
University of Minnesota, Manuscripts Division
University of Mississippi, Department of Archives and Special Collections
University of New Hampshire, Milne Special Collections and Archives
University of New Mexico, Center for Southwest Research
University of North Carolina at Greensboro, Special Collections and University Archives
University of North Carolina at Chapel Hill, General Manuscripts
University of Pennsylvania, Rare Book and Manuscript Library
University of Rochester, Manuscripts and Special Collections
University of San Francisco, Donohoe Rare Book Room
University of Texas at Austin, Harry Ransom Humanities Research Center
University of Tulsa, McFarlin Library
University of Virginia, Albert and Shirley Small Special Collections Library
University of Wisconsin – Madison, Department of Special Collections
Washington State University, Manuscripts, Archives and Special Collections
library.wustl.edu/units/spec Washington University Libraries, Special Collections
Wellesley College, Special Collections
Western Michigan University Libraries, Special Collections and Rare Book Room
Wheaton College, Archives and Special Collections
Williams College, Chapin Library
Yale University, Beinecke Rare Books and Manuscript Library
United Kingdom
All Souls College, The Codrington Library
Armagh Public Library
Armitt Library
Balliol College Library
Bath Reference Library
Belfast Library and Society for Promoting Knowledge, Linen Hall Library
Birmingham Reference Library, Archives Department
Bolton Archives and Local Studies Unit
British Library, Department of Manuscripts
British Library of Political and Economic Science
Bromley Central Library
Brontë Parsonage Museum
Burns Cottage Museum, Burns National Heritage Park
Calderdale District Archives
Cheltenham Ladies’ College
Chetham’s Library
Christ Church Library
Churchill Archives Center
Clifton College Library
Cowper and Newton Museum
Derby Local Studies Library
Dickens House
Dorset County Museum
Dorset History Center
Dove Cottage and Wordsworth Museum
East Sussex County Record Office
Edinburgh City Libraries
Eton College Library
Fitzwilliam Museum
Gilbert White’s House
Girton College Library
Glasgow District Libraries
Gloucestershire Archives
Greenwich Public Libraries, Woodlands Local History Centre
Guildhall Library, Department of Manuscripts
Harris Library
Harrow School Library
Harrowby Manuscripts Trust
Hertfordshire Archives and Local Studies
Hove Central Library
Johnson Birthplace Museum
Keats House – City of London
Keswick Museum and Art Gallery
King’s College Library
King’s College London Library, Archives and Special Collections
The King’s School Library
Lambeth Palace Library
Leeds District Archives
Lincoln Central Library, Tennyson Research Centre
Liverpool City Libraries, Record Office and Local History Library
London Metropolitan Archives
Langleat House
Magdalen College Archives
Merton College Library
Morrab Library
National Archives of Scotland
National Library of Scotland
National Library of Wales
Newstead Abbey
Norfolk Record Office, The Archive Centre
Northamptonshire Record Office
Nottinghamshire Archvies
Public Record Office of Northern Ireland
Pusey House Library
The Queen’s University of Belfast, Special Collections
Reading Central Library
Richmond Local Studies Library
St. Hilda’s College Library
St. John’s College, Cambridge
St. John’s College, Oxford
The Shakespeare Center
Sheffield Archives
Somerville College Library
Surrey History Centre
Torquay Museum
Trinity College Library
University College London Library
University of Aberdeen Library
University of Birmingham Library
University of Bristol Library
University of Cambridge Library
University of Durham Library
University of Edinburgh Library, Special Collections
University of Exeter Library, Special Collections
University of Glasgow Library
University of Hull, Brynmor Jones Library
University of Keele Library
University of Kent at Canterbury Library
University of Lancaster Library
University of Leeds, Brotherton Library
University of Leicester Library, Special Collections
University of Liverpool Library
University of London Library
University of Manchester, Special Collections
University of Newcastle upon Tyne Library
University of Nottingham Library
University of Oxford, Bodleian Library
University of Reading, Special Collections
University of St. Andrews Library
University of Sheffield Library
University of Southampton Library
University of Sussex Library
University of Warwick Library, Modern Records Centre
University of York, Borthwick Institute of Historical Research
Walsall Central Library
Wiltshire Record Office
Wisbech and Fenland Museum

Image Attributions

  1. United States of America Department of State. (July 1919). "United States passport issued to Ezra Pound." Retrieved April 11, 2012 from http://wiki.ubc.ca/File:United_States_passport_of_Ezra_Pound_issued_1919.jpg. Public Domain, via Wikimedia Commons.
  2. Moore, Larry D. (2012). "The Harry Ransom Center, on the University of Texas at Austin campus, Austin, Texas, United States." Retrieved April 11, 2013 from http://commons.wikimedia.org/wiki/File:Harry_ransom_center_2012.jpg. CC BY-SA 3.0, via Wikimedia Commons.
  3. Shankbone, David. (2012). "Salman Rushdie at the Vanity Fair party for the 2012 Tribeca Film Festival." Retrieved April 11, 2013 from http://commons.wikimedia.org/wiki/File:Salman_Rushdie_2012_Shankbone-2.jpg. Cc-by-3.0, via Wikimedia Commons.

References

  1. ↑ Group for Literary Archives and Manuscripts, "About GLAM," http://glam-archives.org.uk/?page_id=2
  2. ↑ Richard Pearce-Moses, A Glossary of Archival and Records Terminology, Society of American Archivists, http://www2.archivists.org/glossary
  3. ↑ Ibid.
  4. ↑ Group for Literary Archives and Manuscripts, "About GLAM."
  5. ↑ Ibid.
  6. ↑ Thomas F. Staley, "Literary Canons, Literary Studies, and Library Collections: A Retrospective on Collecting Twentieth-Century Writers," Rare Books and Manuscripts Librarianship 5, no. 1 (1990): 10-13, http://rbm.acrl.org/content/rbml/5/1/9.full.pdf.
  7. ↑ Jamie Andrews, “What Will Survive of us are Manuscripts: Collecting the Papers of Living British Writers,” Journal of the History of Collections 20, no. 2 (2008): 262, http://jhc.oxfordjournals.org.ezproxy.library.ubc.ca/content/20/2/259.full.pdf+html.
  8. ↑ Harry Ransom Center at the University of Texas at Austin, "Mission and History," http://www.hrc.utexas.edu/about/mission/.
  9. ↑ Andrews, "What Will Survive," 261.
  10. ↑ Ibid. 261-262.
  11. ↑ UK Literary Heritage Working Group, "A Brief History," Proceedings from the Manuscripts Matter Conference, 2006, http://www.literary.org.uk/pdfs/A_Brief_History.pdf.
  12. ↑ Andrews, “What Will Survive," 262.
  13. ↑ Ibid.
  14. ↑ UK Literary Heritage Working Group, "A Brief History," Proceedings from the Manuscripts Matter Conference, 2006, http://www.literary.org.uk/pdfs/A_Brief_History.pdf.
  15. ↑ Andrews, “What Will Survive," 263.
  16. ↑ UK Literary Heritage Working Group, "A Brief History."
  17. ↑ Ibid.
  18. ↑ UK Literary Heritage Working Group, "Introduction," http://www.literary.org.uk/
  19. ↑ Ibid.
  20. ↑ Andrews, “What Will Survive," 267.
  21. ↑ Matthew Kirschenbaum, Erika Farr, Kari M. Kraus, Naomi L. Nelson, Catherine Stollar Peters, Gabriela Redwine, and Doug Reside, Approaches to Managing and Collecting Born-Digital Literary Materials for Scholarly Use (white paper), (May 2009): National Endowment for the Humanities, “Office of Digital Humanities,” 3, http://drum.lib.umd.edu/bitstream/1903/9787/1/Born-Digital%20White%20Paper.pdf.
  22. ↑ Emory University, Manuscript, Archives, and Rare Book Library. "Salman Rushdie Papers, 1947-2008," http://findingaids.library.emory.edu/documents/rushdie1000/.
  23. ↑ Emory University, "Salman Rushdie Archive to Open Feb. 26," (Jan. 11, 2010), http://shared.web.emory.edu/emory/news/releases/2010/01/salman-rushdie-archive-to-open-at-emory.html#.UUAQrBxYuAZ.
  24. ↑ Kirschenbaum et al. Approaches to Managing and Collecting Born-Digital Literary Materials," 10.
  25. ↑ Gabriela Redwine, "Preserving Born Digital Materials," http://www.hrc.utexas.edu/ransomedition/2010/spring/borndigital.html.
  26. ↑ Kirschenbaum et al. "Approaches to Managing and Collecting Born-Digital Literary Materials," 11.
  27. ↑ DSpace, "About DSpace," http://www.dspace.org/introducing.
  28. ↑ Staley, "Literary Canons," 10.
  29. ↑ Phillip N. Cronenwett, “Appraisal of Literary Manuscripts.” Archival Choices: Managing the Historical Record in an Age of Abundance. Nancy Pease, ed. Lexington, Mass.: Lexington Books, (1984), 105-108.
  30. ↑ Hagenmaier, Wendy, "Get the Manuscript!: Arranging and Describing the Literary Imagination at the Harry Ransom Humanities Research Center, 1965-1992." (2010), http://www.ischool.utexas.edu/~wendyh/EPortfolio/Get%20the%20Manuscript.doc.
  31. ↑ T.R.(Theodore R.) Schellenberg, The Management of Archives, Washington, D.C.: National Archives and Records Administration (1988), XXIX, http://babel.hathitrust.org/cgi/pt?id=mdp.39015015526695;seq=5;view=1up;num=i.
  32. ↑ Catherine Hobbs, “New Approaches to Canadian Literary Archives,” Journal of Canadian Studies, 40, 2 (2007): 109-19, http://muse.jhu.edu.ezproxy.library.ubc.ca/journals/journal_of_canadian_studies/v040/40.2hobbs.html.
  33. ↑ Judy Dicken, “Twentieth-Century Literary Archives: Collecting Policies and Research Initiatives.” In New Directions in Archival Research, Edited by Margaret Proctor and C. P. Lewis (Liverpool: Liverpool University for Archive Studies, 2000), 49-82.
  34. ↑ Group for Literary Archives and Manuscripts. Draft Guidelines for Cataloguing Literary Archives and Manuscripts, v.1, (April 2012), http://glam-archives.org.uk/wp-content/uploads/2012/04/GLAMCataloguingGuidelines3.pdf.
  35. ↑ David Sutton, International Perspectives on Copyright. 15th International Congress on Archives (2004): 1-2, http://www.ica.org/6450/professional-resources/international-perspectives-on-archival-copyright.html.
  36. ↑ Ibid. 1
  37. ↑ Ibid. 2
  38. ↑ Ibid.
  39. ↑ Group for Literary and Archives and Manuscripts, "Copyright and Data Protection in relation to literary archives and manuscripts: GLAM meeting, 10 September 2007," (2007): 3, http://glam-archives.org.uk/wp-content/uploads/2011/02/copyright100907.pdf.
  40. ↑ Ibid.
  41. ↑ Ibid.
  42. ↑ Ibid.
  43. ↑ Harry Ransom Center, “About WATCH,” http://norman.hrc.utexas.edu/watch/about.cfm.
  44. ↑ Sara S. Hodson, “In Secret Kept, In Silence Sealed: Privacy in the Papers of Authors and Celebrities,” American Archivist 67 (Fall/Winter 2004): 194-211, http://www.jstor.org.ezproxy.library.ubc.ca/stable/40294276.
  45. ↑ Group for Literary and Archives and Manuscripts. "Copyright and Data Protection," 4.
  46. ↑ K.E. Garay, "Access and Copyright in Literary Collections," Archivaria 18 (Summer 1984): 221. https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CDEQFjAA&url=http%3A%2F%2Fjournals.sfu.ca%2Farchivar%2Findex.php%2Farchivaria%2Farticle%2Fdownload%2F11091%2F12027&ei=GsFoUZ-LGaWriAKR24DQAw&usg=AFQjCNG2YrTWLRS7up27WZwfmvh2hN6bAw&bvm=bv.45175338,d.cGE.
  47. ↑ Diasporic Literary Archives, www.diasporicarchives.com.
  48. ↑ Group for Literary and Archives & Manuscripts, "About GLAM," http://glam-archives.org.uk/?page_id=2.
  49. ↑ Group for Literary Archives & Manuscripts, North America, http://glamna.org/.
  50. ↑ Group for Literary Archives & Manuscripts, North America, "About Us," http://glamna.org/about-us/.
  51. ↑ International Council on Archives, "Section on Literary and Artistic Libraries," http://www.ica.org/2870/about-section-on-literary-and-artistic-archives-sla/about-literary-and-artistic-archives-sla.html.
  52. ↑ UK Literary Heritage Working Group, “Introduction,” http://www.literary.org.uk/.
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