We are happy to announce that Libertarian Papers has been chosen for inclusion in the web archives of the Library of Congress. This means that, once archived, the complete journal will be available indefinitely both to researchers at Library facilities and by special arrangement. Of course, because Libertarian Papers uses an open-access format, the use of ….

(1999). Internet Review: African-American Sources in the Library of Congress American Memory Project. Educational Studies: Vol. 30, No. 1, pp. 99-102.

A library is not just a collection of books, but also the buildings that house them. From the great dome of the Library of Congress, to the white facade of the Seinäjoki Library in Finland, the architecture of a library is a symbol of its time as well as of its builders' wealth, culture, and learning.

For a special library serving its parent organization, the design and use of classification schemes primarily need to support work activities. However, when the Prince Vivadhanajaya Library at the Bank of Thailand decided to open its doors to the public in 2018, the redesign of classification that serves both internal staff work and the public interest became a challenging task. We designed a classification scheme by integrating work centered classification design approach, classification as communication framework and the service (...) design approach. The design process included developing empathy, ideation and implementation and evaluation. As a result, the new classification scheme, including seven main classes and thirty-seven level-one subclasses and twenty-two level-two subclasses, was primarily based on the organization’s strategic plans, mapping with JEL Classification Codes, Library of Congress Classification (LCC) and Library of Congress Subject Headings (LCSH). The classification scheme also includes geographical code, author cutter number, publication year, volume number and copy number. Follow up interviews with twenty-three participants were conducted two years later to evaluate user experience as well as the staff’s opinion of the new classification scheme. The feedback addressed favorable outcomes and challenges to be used for the next iteration of the library service design process. (shrink)

Where might one start? Of “education,” the Latinate etymology is evocative: to draw out, draw away from, draw forth. The echoes are linear. Ex tenebras lux, from the shadows of ignorance to the luminosity of knowing, a path towards experience out of innocence. That path has its symbolic origin in the library of third and second century B.C. Alexandria, where Aristophanes of Byzantium and Aristarchus of Samothrace first coined the word canon, as the mark of a standard of excellence. (...) In that library we would have found the Aristotelian texts summoning the human race to immortality, through an education that alone can lead us from the conditions of bestiality to those of divinity. Political order rests on an education in harmony with the constitutional structure of the city state; ultimately however eudaimonia, the highest joy known to man, lies in the educated exercise of the soul’s faculties in conformity with the most perfect virtue through philosophical contemplation. Here is the telos of the pedagogic journey. (shrink)

This article is about the relationship between reading, trauma and responsive literary caregiving in Britain during the First World War. Its analysis of two little-known documents describing the history of the War Library, begun by Helen Mary Gaskell in 1914, exposes a gap in the scholarship of war-time reading; generates a new narrative of "how," "when," and "why" books went to war; and foregrounds gender in its analysis of the historiography. The Library of Congress's T. W. Koch (...) discovered Gaskell's ground-breaking work in 1917 and reported its successes to the American Library Association. The British Times also covered Gaskell's library, yet researchers working on reading during the war have routinely neglected her distinct model and method, skewing the research base on war-time reading and its association with trauma and caregiving. In the article's second half, a literary case study of a popular war novel demonstrates the extent of the "bitter cry for books." The success of Gaskell's intervention is examined alongside H. G. Wells's representation of textual healing. Reading is shown to offer sick, traumatized and recovering combatants emotional and psychological caregiving in ways that she could not always have predicted and that are not visible in the literary/historical record. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where his (...) father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

About forty years ago, when print media were still in their ascendancy, Marshall McLuhan argued that all media are extensions of the senses and that the rational view of the world associated with print is being replaced by a world-view associated with electronic media that stresses feelings and emotions (McLuhan, 1964). In 2003 researchers from the School of Information Management Sciences at Berkeley estimated that five exabytes (five billion gigabytes) of information had been generated in the previous year, equivalent to (...) 37,000 times the holdings of the Library of Congress and that 92.00% of this was on magnetic media, mostly hard disks, while only 0.01% was in print (http://www.sims.berkeley.edu, 2003). This SIMS estimate could be wrong by several orders of magnitude and it would still be clear that the era of the printed word is waning rapidly. We are well-advised to pay attention to McLuhan’s suggestionthat electronic media change how we think and how we feel.Sense of place and virtual reality are both inextricably caught up in this cultural-technological upheaval. I have written about the concept of ‘place’ from a phenomenological perspective for many years and have achieved a reasonable understanding of its subtleties, but I have a limited knowledge of digital virtual reality and its technical attributes. Nevertheless, it seems to me that a mutual interaction is at work between what might be called ‘real’ place and virtual places, that digital virtual reality shares characteristics with other electronic media and that our experiences of real places are being changed those same media. This essay explores these issues particularlyfrom the perspective of the distinction between spirit of place and sense of place. (shrink)

About forty years ago, when print media were still in their ascendancy, Marshall McLuhan argued that all media are extensions of the senses and that the rational view of the world associated with print is being replaced by a world-view associated with electronic media that stresses feelings and emotions. In 2003 researchers from the School of Information Management Sciences at Berkeley estimated that five exabytes of information had been generated in the previous year, equivalent to 37,000 times the holdings of (...) the Library of Congress and that 92.00% of this was on magnetic media, mostly hard disks, while only 0.01% was in print. This SIMS estimate could be wrong by several orders of magnitude and it would still be clear that the era of the printed word is waning rapidly. We are well-advised to pay attention to McLuhan’s suggestionthat electronic media change how we think and how we feel.Sense of place and virtual reality are both inextricably caught up in this cultural-technological upheaval. I have written about the concept of ‘place’ from a phenomenological perspective for many years and have achieved a reasonable understanding of its subtleties, but I have a limited knowledge of digital virtual reality and its technical attributes. Nevertheless, it seems to me that a mutual interaction is at work between what might be called ‘real’ place and virtual places, that digital virtual reality shares characteristics with other electronic media and that our experiences of real places are being changed those same media. This essay explores these issues particularlyfrom the perspective of the distinction between spirit of place and sense of place. (shrink)

It is based on extensive use of the twelve volumes of Ortega's Obras completas, the eighty microfilm reels of his archive in the Library of Congress, and his private library of fifteen hundred volumes in Madrid.

Poe’s influence on the Symbolists has been traced on many occasions, though not in detail. The classical study in English is Eliot’s “From Poe to Valéry,” a Library of Congress lecture delivered three years after Valéry’s death.2 Eliot defines Poe as irresponsible and immature—irresponsible in style, immature in vision. He had, Eliot comments, “the intellect of a highly gifted young person before puberty”; “all of his ideas seem to be entertained rather than believed” . How, then, we ask, (...) did he hoax the sophisticated French? Although Eliot raises the issue of their relative ignorance of English, he prudently does not make much of it: after all, we know that Baudelaire spent seventeen years on the tales, Mallarmé still longer on the poems—thirty years for the definitive text; while Valéry, to whom Baudelaire and Mallarmé left little to translate, managed a version of the Marginalia. Each might have said, as Mallarmé did in 1885, that he had learned English for one sole reason: “to read Poe better.”3 In the matter of linguistic competence, then, Eliot is content to remark that the French poets “were not disturbed by weaknesses of which we are very much aware” . He underlines, however, that Poe showed different facets of himself to each of his readers who adopted him in various ways: Baudelaire focused on the Poète maudit, Mallarmé on the prosodist, and Valéry on the theoretician in whom he discovered “a method and an occupation—that of observing himself write” . So Poe had a diverse effect, which Eliot accepts more readily in respect of Baudelaire and Mallarmé than he does of Valéry. To explain this last case which intrigues him especially, he introduces a paradox: “with Poe and Valéry, extremes meet,” he writes, “the immature mind playing with ideas because it had not developed to the point of convictions, and the very adult mind playing with ideas because it was too skeptical to hold convictions” .Thus Eliot damns Poe with faint praise. The distance between cause and effect, master and disciples is so vast that it can only be thought the product of monstrous error. And yet “from Poet to Valéry” and the complementary studies in English or French of the past thirty-five years neglect some deeper factors that drew the Symbolists. Misreadings there were no doubt since such are in the nature of things, but these authors were sensitive to currents that others overlooked. They attempted to go to first principles, not only because Poe was “ce poète incomparable, ce philosophe non refute” 4 and, therefore, worthy of scrutiny, but because they held him to be vital to their future thought. In a period of great social and aesthetic change they found a figure of radical independence—classicist, visionary, logician supreme—whom they explained by convergent tropes of daemonic power. In this regard the newly published correspondence of Mallarmé and the massive Valéry notebooks have added to our knowledge. I would like, then, to consider the nature of Poe’s action, this submerged dialogue in time and successive rewriting by which—“à l’égal de nos maître les plus chers ou vénérés,” as Mallarmé put it5—he entered the mainstream of French poetry. 2. The lecture was later published in Hudson Review 2 : 335; all further references to this work, abbreviated “FPV,” will be included in the text.3. Mallarmé, “Autobiographie,” Oeuvres completes, p. 662.4. Baudelaire, “Le Poème du hachisch,” Oeuvres complètes, 1:427.5. Mallarmé, “Scolies,” Oeuvres completes, p. 223. James Lawler, Edward arson Waller Distinguished Service Professor of French at the University of Chicago, has written extensively on nineteenth- and twentieth-century French poetry. Among his books are Lecture de Valéry, The Language of French Symbolism, The Poet as Analyst, and René Char: The Myth and the Poem. He is currently completing a study of Buadelaire’s Les Fleurs du mal. (shrink)

ArgumentThe paper is based on a hitherto unexplored document (audiotape of an interview accompanied by a German transcript) from 1953, located in the Freud Papers at the Library of Congress. It contributes to a better understanding of the impact of Freud and of Psychoanalysis on personalities from the exact sciences, here represented by the noted applied mathematicians Richard von Mises and Hilda Geiringer from Vienna. The detailed discussion of the interview sheds some new light on the different roles (...) of Kraus and Freud in the Vienna culture, on the Vienna Jugendkulturbewegung (youth culture movement) during WWI in which Geiringer was involved, on Freud’s and Siegfried Bernfeld’s standing around 1930 among German philosophers and psychologists, and on Wilhelm Fließ’ theory of periodicity, which von Mises—based on his attitude as an applied mathematician—defended against superficial accusations. Finally, new biographical material is provided for von Mises and the remotely related Freud family, and for Geiringer’s and von Mises’ early lives. The interview, which was taken during the Cold War, also allows conclusions as to how politics influenced the memories and views of the participants. Part of the aim of the paper is historical documentation of unknown material (letters by Karl Kraus and Wolfgang Köhler, one book review by Wilhelm Ostwald, a file on Richard Pfennig), including some correction of erroneous information in the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ethics of Salomon Maimon (1753-1800) DAVID BAUMGARDT* SALOMON MAIMON is now generally considered the most acute mind among the earliest critics of Kant. Kant himself had praised his acumen,1 though later qualifying his regard decisively.2 Johann Gottfried Herder called * We have just learned of the death of the author. David Baumgardt, born in Germany on April 20, 1890, studied in Vienna and in Berlin and taught philosophy (...) at the University of Berlin from 1924 to 1935 as Privatdozent, Extraordinarius and Ordinarius, until he was forced by Germany's racial laws to resign, but after the end of the war the Free University of Berlin appointed him honorary professor. From 1935 to 1939 he taught at the University of Birmingham; after his arrival in the United States he first joined the staff of the Pendle Hill School and, from 1941 to 1954, he served with the Library of Congress as a consultant in the field of philosophy. In 1955-56 he was Visiting Professor of Philosophy at Columbia. After his retirement he continued to publish and at present there are five publications by him in the press. The number of books and articles written by him probably well exceeds two hundred. Just in the last months of his life he was presented with a Festschri[t (Horizons of a Philosopher), indicative of a wide range of friends, students, and fellow-scholars who wanted to express their appreciation of the man and his work. On the continent Baumgardt was perhaps best known for two books: Franz yon Baader (1927) and Der Kampf um den Lebenssinn unter den Vorliiufern der Modernen Ethik (1933). The former threw full light on an important but unduly neglected figure of the German romantic school of philosophy; the latter confronts Kant's rationalistic ethics with the irrationalism of a Herder, Hemsterhuis, and Jacobi. In the United States he published, among others, Bentham and the Ethics of Today (1952) and Great Western Mystics (1961), originally delivered as Matchette Lectures, but enriched, for publication, by voluminous notes containing a wealth of information on mystics, some of whom, especially Jewish ones, are familiar only to the expert. At the time of his death he was working on a book which would probably have become his opus magnum: an attempt to reconcile what he called the ethics of force with the ethics of love. Baumgardt described his own philosophic position as that of a Benthamian hedonist, asserting that only hedonism, when carried to its conclusions, would permit such a reconciliation. Systematic, ethical and religious problems underlay all his historic research; thus his loss will be felt keenly and widely. (PHILIP MERLAN) t See Kant's Gesammelte Schri[ten, ed. K6nig. Preuss. Akad. Wissenschaften, Vol. XI, Abt. II, Kant's Briefwechsel (1900), Vol. II, p. 49, letter to Marcus Herz, May 26, 1789: "Nicht allein" hat "niemand yon meinen Gegnern reich und die Hauptfrage so wohl verstanden, sondern nur wenige... mochten zu dergleichen tiefen Untersuchungen so viel Scharfsinn besitzen... als Hr. Maymon." 2See ibid., p. 476, letter to Carl Leonhard Reinhold, March 28, 1794: "Was aber z. B. ein Maimon mit seiner Nachbesserung der critischen Philosophie... eigentlich wolle," habe ich "nie recht fassen k6nnen." The noticeable change in Kant's judgment of Maimon's work is hardly due to the fact that his praising remarks were addressed to a Jewish friend and the disapproving ones to a gentile disciple. The reason for this shift in his evaluation of Maimon's later writings 099] 200 HISTORY OF PHILOSOPHY Maimon's Versuch iiber die Transzendentalphilosophie "profound" and "comprehensive.''~ Even Goethe and Schiller mentioned him with esteem in their correspondence;~ and Johann Gottlieb Fichte explicitly' warned that coming centuries would ridicule us bitterly for disregarding this "immensely great talent." It may, therefore, not be out of place if, even more than 150 years after Maimon's death, some attention is paid to his generally neglected criticism of Kant's categorical imperative. Maimon's acute critical observations on Kant's ethics may claim to be of interest even to the analysis of some basic issues of contemporary moral philosophy. In an autobiography, culturally of general interest, edited by the psychologist and esthetician Karl... (shrink)

This paper examines the predominant systems used for the classification of print-based cartographic materials (primarily atlases and sheet maps). We present the results of a brief, widely distributed survey on the topic, followed by discussions of the distinctive characteristics of the classification systems used by survey respondents. The Library of Congress Classification and Dewey Decimal Classification systems were found to be widely used, with several other schemes also in use.

The hotel is at the other end of the government district, near Capitol Hill and the Library of Congress, where I would present a lecture on a classical Brazilian author the next day. When I tell the taxi driver that we have to be at the State Department in twenty minutes, his black forehead wrinkles. That might be difficult, he says, because of a Latino demonstration against the new immigration laws. Nervously I ask if there is some shortcut (...) and add in a half whisper that I have an appointment with the Secretary. “Good girl,” says the driver jovially but…. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 71-98MuseSearchJournalsThis JournalContents[Access article in PDF]Hospitality after the Death of GodTracy McNultyPierre Klossowski's fiction has been only sporadically published in English, and largely dismissed as perverse erotica or soft-core porn. When his 1965 trilogy Les lois de l'hospitalité was partially translated in English (under the title Roberte, ce soir & The Revocation of the Edict of Nantes), its Library of Congress classification characterized it simply (...) as "erotic fiction—French." Even in France, Klossowski has become the very signifier of perversion. His artwork graces the cover of Serge André's L'imposture perverse and of numerous erotic novels, he has been "diagnosed" as a pervert by writers on both sides of the Atlantic, and unironic readers of his Sade mon prochain hail him as Sade's disciple and heir.1Admittedly, the larger stakes of Klossowski's work are easily obscured by its free adaptation of the stock themes of libertine literature. His fictional works, like his visual compositions (essentially representations of rape scenes, often on historical themes—Diana and Actaeon, the Rape of Lucretia), explore the conflict between a woman's chaste moral attitude and her gradual surrender to an assailant's advances. The Laws of Hospitality concerns the erotic awakening of "hospitality" in a woman, which exposes a contradiction within her moral character and reveals her symbolic identity to be without foundation. Its protagonist Octave, who bears more than a passing resemblance to his creator, is a collector of artworks that eroticize the moment of moral hesitation experienced by women submitting to the sexual advances of a chance stranger—or even a "spiritual" apparition. His "laws of hospitality" are the fruit of his desire to experience this operation firsthand; they name a practice wherein the master of the house "offers" his wife to fortuitous guests, in order to savor the moment of her surrender.However, the stakes of Klossowski's "perverse" meditations are very different from the Sadeian project of uprooting religious morality. Sade challenges the patriarchal and religious authorities of his day by demonstrating that the paternal signifier on which their laws are based is without foundation. In proving that the law cannot hold [End Page 71] up against the repeated assaults of libertinage, he mounts a systematic deconstruction of the symbolic order of language by the real of jouissance. But although Klossowski may share Sade's perverse drive to "humiliate the law with the object,"2 his target is not the signifier as such, but rather the imaginary consistency afforded by what he calls the "grammatical fiction of the 'I,'" the illusion of autonomous personhood. The "object" he confronts it with is not the natural "truth" of jouissance, but rather the feminine object who disrupts the identity of the "master" who offers her.Klossowski's reflections on the special status of femininity in Enlightenment culture—at once marginal and singularly "extimate"—have never been fully appreciated, despite their enormous interest for the study of culture. In a way unique among contemporary authors, Klossowski sheds light on Jacques Lacan's enigmatic insight that the cultural importance of the feminine object consists in its sublimated status as an "object raised to the dignity of the Thing" [Lacan 112]. His fiction underscores the close ties between the feminine and what Freud called das Ding, the Thing uncannily internal to subjectivity that Lacan later identified with the function of the Nebenmensch, as the apotheosis of the Christian idea of the prochain, or neighbor [Lacan 151–52].Although Klossowski's erotic scenario invites comparisons with Sade's and Fourier's utopian calls to dissolve the privative boundaries between subjects, what he understands by "hospitality" is not the abolition of personal identity, but rather the staging of its internal contradiction.Hospitality, at the Limits of the LawThe act of hospitality—whose theological and philosophical origins this former Dominican novice and Latin scholar was intimately acquainted with—concerns a very particular tension. Etymologically, the host is the "master," the one who "eminently personifies" identity: not only his own identity, but also that of the group in whose... (shrink)

_Sigmund Freud and His Impact on the Modern World_, volume 29 of The Annual of Psychoanalysis, is a comprehensive reassessment of the influence of Sigmund Freud. Intended as an unofficial companion volume to the Library of Congress's exhibit, "Sigmund Freud: Conflict and Culture," it ponders Freud's influence in the context of contemporary scientific, psychotherapeutic, and academic landscapes. Beginning with James Anderson's biographical remarks, which are geared specifically to the objects on display in the Library of Congress (...) exhibit, and Roy Grinker Jr.'s more personal view of Freud, the volume branches out in various directions in an effort to comprehend the multidimensional and multidisciplinary richness of Freud's contribution. In section II, we find authoritative summaries of Freud's scientific contributions, of his continuing impact as a thinker, of his notion of symbolization in the context of recent neuroscientific findings, and of his status as a "cultural subversive". In section III, contributors hone in on more specific aspects of Freud's legacy, such as an experimental method to review how Freud's idea of childhood sexuality has fared and a look at the women who became analysts in the United States. In the concluding section of the volume, contributors turn to Freud's influence in various humanistic disciplines: literature, drama, religious studies, the human sciences, the visual arts, and cinema. With this scholarly yet highly accessible compilation, the Chicago Institute provides another service to its own community and to the wider reading public. Sure to enhance the experience of all those attending "Sigmund Freud: Conflict and Culture," _Sigmund Freud and His Impact on the Modern World_ will appeal to anyone desirous of an up-to-date overview of the man whose work shaped the psychological sensibility of the century just past and promises to reverberate throughout the century just born. (shrink)

in die operative Logik und Mathematik Zweite Auflage Springer-Verlag Berlin Heidelberg New York 1969 Paul Lorenzen o. Prof. der Philosophie an der Universitat Erlangen Geschaftsfilhrende Herausgeber: Prof. Dr. B. Eckmann Eidgenossische Technische Hochschule Zurich Prof. Dr. B. L. van cler Waerclen Mathematisches Institut der Universitat ZUrich ISBN 978-3-642-86519-0 ISBN 978-3-642-86518-3 (eBook) DOl 10.1007/978-3-642-86518-3 Aile Rechte vorbehalten. Kein Teil dieses Buches darf ohne schriftliche Genehmigung des Springer-Verlages ubersetzt oder in irgendeiner Form vervielfaltigt werden © by Springer-Verlag Berlin· Heidelberg 1955 und 1969 (...) Softcover reprint of the hardcover 2nd edition 1969 Library of Congress Catalog Card Number 73-76724 Titel-Nr. 5061 Vorwort zur zweiten Auflage. Fiir die Neuauflage ist der Text nur unwesentlich geandert worden. Es ist - neben der Korrektur einiger Ungenauigkeiten - vor allem die Terminologie und Symbolik an meine spateren Arbeiten angeglichen. Obwohl ich - verstandlicherweise - jetzt die Ansatze der spateren Arbeiten fiir "sachgemaBer" halte, z. B. eine Logik der Dialoge statt einer Logik der Kalkiile, die Verwendung indefiniter Quantoren statt einer expliziten Konstruktion von Sprachschichten, enthalt diese Neu­ auflage den Inhalt der 1. Auflage unverandert. Der Leser kann also einen Vergleich mit meinen spateren Arbeiten (vgl. Literaturverzeichnis) seIber durchfiihren. Mein Dank gilt wiederum dem Verlag fiir seine entgegenkommende Mitarbeit bei der Vorbereitung dieser Neuauflage. Erlangen, den 1. November I968. PAUL LORENZEN. Vorwort zur ersten Auflage. (shrink)

This article was originally delivered as a lecture at the Library of Congress, February 17, 2011, to commemorate the installation of a letter from Whitehead to his student Henry Leonard in the collection of that institution. See the Appendices to Phipps for a copy of the letter and Leonard’s response. The present article summarizes the history, development, and importance of Whitehead’s work for the present and delineates perspectives for potential Whitehead research in the future.

This paper provides an analysis of data collected on the continued prevalence of outdated, marginalizing terms in contemporary cataloguing practices, stemming from the Library of Congress Subject Heading term “Indians” and all its related terms. Using Manitoba Archival Information Network’s (MAIN) list of current LCSH and recommended alternatives as a foundation, we built a dataset from titles published in the last five years. We show a wide distribution of LCSH used to catalogue fiction and non-fiction, with outdated but (...) recognized terms like “Indians of North America-History” appearing the most frequently and ambiguous and offensive terms like “Indian gays” appearing throughout the dataset. We discuss two primary problems with the continued use of current LCSH terms: their ambiguity limits the effectiveness of an institution’s catalog, and they do not reflect the way Indigenous Peoples, Nations, and communities in North America prefer to represent themselves as individuals and collectives. These findings support those of parallel scholarship on knowl­edge organization practices for works on Indigenous topics and provide a foundation for further work. (shrink)

From 1897 through about 1912, film producers would shoot their footage and then make a contact print of the entire film on a roll of photographic paper. Mailed to the Library of Congress, these rolls of paper established copyright. The films document a very busy world indeed. They show people thronging streets, working, shopping; they show crowds shuffling through gates at Ellis Island or welcoming returning war heroes. More than just documentary, the films include satire ad commentary on (...) the nature of life at the turn of the last century. In these early films, which almost never run much longer than two or three minutes, the camera almost never moves—no zooms, pans, or fast cuts or clever editing. But the screens are never still, full of action and movement. They document great disasters and everyday events, the dynamic world of the turn of the last century. These very early films played almost entirely to a working class audience. Indeed, when middle class observers began noticing this new phenomenon, the “movies,” sweeping working class neighborhoods they saw it as both fast paced, as a “get thrills quick” medium that played magical games with time and space, and also as a dangerous soporific. They show a busy world, but they show confusion about what “busy” means. (shrink)

Alan J. Holland. Library of Congress Cataloging in Publication Data Main entry under title: Philosophy, its history and historiography. (Royal Institute of Philosophy Conference; v. 1983) ...

Here in volume II are the Tibetan texts of the biographies of four Lamas of Dolpo of western Tibet. They are written in the headless form of Tibetan script with both clarity and beauty with the Khams-pa style of cursive script. It includes four appendixes: transliterated extracts without translation, transliterated extracts with translation, two pages of notes to the first volume, a lay-out of the Tibetan alphabet together with the system of transliteration, and a table of abbreviated words to facilitate (...) reading the text. This is a beautiful edition, especially helpful in that it provides a good example of Tibetan cursive writing. The transliteration scheme also accords with that gaining wide acceptance amongst Tibetan scholars, even though not chosen by the Library of Congress. --P. J. H. (shrink)

Existing social disparities in the United States are inconsistent with the promise of democracy; therefore, there was a need for critical conceptualization of the first principles that undergird American democracy and the genesis of democratic social change in America. This constructivist grounded theory study aimed to construct a grounded theory that provides an understanding of the process of American democratic social change as it emerged from the nation’s founding documents. A post hoc polytheoretical framework including Foucault’s, Bourdieu’s, and Marx and (...) Engels’s theories of power was used to understand power dynamics. The research question focused on understanding the process of democratic social change in America. The sample comprised the Articles of Confederation, the U.S. Declaration of Independence, The Federalist Papers, and the U.S. Constitution. The documents were retrieved from the National Archives and Library of Congress. The data analysis plan incorporated successive comparison, situational and dramaturgical analysis, deconstruction, and perspective taking as strategies. The result was the construction of a democratic social change process theory preceded by five grounded theories: (a) first principles of democracy, (b) first principles of democracy conceptual framework, (c) socio-ethical principles of democracy, (d) demoralizing process, and (e) either-or approach to democracy. Positive social change implications include applying a democratic social change process to future social change endeavors across domains and levels of analysis, a normative framework for a republican form of government, and a tool to analyze and minimize the latent consequences of social justice policies. (shrink)

This paper is a survey of standards being used in the domain of digital cultural heritage with focus on the Metadata Encoding and Transmission Standard created by the Library of Congress in the United States of America. The process of digitization of cultural heritage requires silo breaking in a number of areas—one area is that of academic disciplines to enable the performance of rich interdisciplinary work. This lays the foundation for the emancipation of the second form of silo (...) which are the silos of knowledge, both traditional and born digital, held in individual institutions, such as galleries, libraries, archives and museums. Disciplinary silo breaking is the key to unlocking these institutional knowledge silos. Interdisciplinary teams, such as developers and librarians, work together to make the data accessible as open data on the “semantic web”. Description logic is the area of mathematics which underpins many ontology building applications today. Creating these ontologies requires a human–machine symbiosis. Currently in the cultural heritage domain, the institutions’ role is that of provider of this open data to the national aggregator which in turn can make the data available to the trans-European aggregator known as Europeana. Current ingests to the aggregators are in the form of machine readable cataloguing metadata which is limited in the richness it provides to disparate object descriptions. METS can provide this richness. (shrink)

This article celebrates Lyman Tower Sargent's online bibliography of Utopian literature, its creation at the Penn State Libraries, and its cataloging by the Library of Congress.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Platonic Ethics: Old and NewEve Browning ColeJulia Annas. Platonic Ethics: Old and New. Ithaca, NY: Cornell University Press, 1999. Pp. vii + 196. Cloth, $35.00Readers of Plato's dialogues in our time are almost unanimously affected by what Annas here calls "the developmental thesis." We bring to Plato's texts as a dogma the [End Page 114] view that his doctrines evolved over time, that later dialogues return to problems (...) unsuccessfully addressed in earlier dialogues, and in short that the Platonic corpus as a whole should be arranged as a kind of intellectual "Bildungsroman." The early and inconclusive explorations of Socrates give way to mature and expansive metaphysical doctrines, which in turn are tested and revised in subsequent works.This developmentalist dogma has dominated interpretations of Plato, with few exceptions (notably Paul Shorey), for a century and more. Yet this makes it a rather young dogma after all. Annas argues that it is a product of Victorian scholars, and especially targets the highly influential work of Benjamin Jowett (95 n.56). Jowett placed the Republic at the center of Plato's works and interpreted others backward and forward from it. The influence of this developmental thesis has been sweeping and, Annas argues, unfortunate. Armed with it, we are reluctant to consider the doctrines of the dialogues on their own terms; we make problems for one dialogue with concerns expressed in quite another; we tend to force our readings to fit the progressive picture and distort the works in the process.To achieve some distance from developmentalism and other modern preconceptions and dogma, Annas proposes listening with an open mind to ancient readings of Plato, especially those of the so-called Middle Platonists. Most modern students of ancient philosophy have been accustomed to discount these ancients as either too marginal to deserve a hearing or too biased to be fair readers. (In addition, access to their works in reliable texts and translations has been impossible until quite recently.)But such ancient readers as Albinus, Alcinous, Arius Didymus, Philo, and Numenius have (Annas argues) much to offer.First, they are active participants in an ongoing intellectual conversation about "eudaimonism," or the sufficiency of virtue for happiness. They comfortably engage Plato in this conversation as a proponent of eudaimonism. This is as true for the Plato of Republic and Laws as for the earlier dialogues. These older readers of Platonic ethics demonstrate that it is indeed possible to discern a unified view of the relation between goodness and happiness, without violence to the texts. While Plato may speak with "many voices," as Arius Didymus averred, this does not entail that he held "many doctrines" (9).Another modern shibboleth which the older readers can help us dislodge concerns the proper understanding of the Republic. We have tended to classify it as political theory (and in this are supported by the Library of Congress, as Annas points out). While recognizing the hefty core of more individual ethical thinking which goes into the definition of justice in the soul, we have insisted that the "Fairest City" is a serious utopian project description and should shape and contain the Republic's ethical teachings. Here too the ancients were much less inhibited than we; most of them cheerfully ignore the city-building and attend mainly to the implications for moral life. Annas finds this not only salubrious and unity-supporting but more faithful to the text, whose political content she finds "brief and underdeveloped" (82).Many readers will find the treatment of Republic's political significance (or lack thereof) objectionable. Many readers will also find the idea of relinquishing developmentalism to be unappealing or even frightening. But Annas makes a strong case for [End Page 115] seriously consulting the ancient readers if only for their medicinal value; they can "... wake us from our developmental slumbers" (165). Moreover, she provides a friendly and accessible entree to their world, one which will be of value to many modern readers who have been mystified by them heretofore.All texts quoted are in translation, and the occasional bits of original texts are transliterated. An extremely helpful "cast of characters" (which everyone will be tempted to xerox and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

A groundbreaking new look at the story of America At the heart of the nation's spiritual history are audacious and often violent scenes. But the Puritans and the shining city on the hill give us just one way to understand the United States. Rather than recite American history from a Christian vantage point, Peter Manseau proves that what really happened is worth a close, fresh look. Thomas Jefferson himself collected books on all religions and required that the brand new (...) class='Hi'>Library of Congress take his books, since Americans needed to consider the "twenty gods or no god" he famously noted were revered by his neighbors. Looking at the Americans who believed in these gods, Manseau fills in America's story of itself, from the persecuted "witches" at Salem and who they really were, to the persecuted Buddhists in WWII California, from spirituality and cults in the '60s to the recent presidential election where both candidates were for the first time non-traditional Christians. One Nation, Under Gods shows how much more there is to the history we tell ourselves, right back to the country's earliest days. Dazzling in its scope and sweep, it is an American history unlike any you've read. (shrink)

This article examines genre as knowledge organization. Genres are fluid and historically changing categories, and there are different views about the scope and membership of specific genres. The literature generally agrees that genre is a matter of discrimination and taxonomy, and that it is concerned with organising things into recognisable classes, existing as part of the relationship between texts and readers. Genre can be thought of as a sorting mechanism, and genres are not only a matter of codes and conventions (...) but also call into play systems of use and social institutions. This article explores the history of genre analysis across a broad range of disciplines, including literary studies, rhetorical and social action studies, and English for academic and professional purposes. It considers genre theory as a framework for librarianship and knowledge organization and explores the use of genre within librarianship and knowledge organization. Finally, the article discusses the Library of Congress Genre/forms Terms for Library and Archival Materials which, itself an evolving and changing standard, offers a step towards standardisation regarding genre terms and the scope of genre categories. (shrink)

The documents selected for publication in this book have never been published before. All are deposited in the von Neumann Archive of the Manuscript Division of the Library of Congress . The rich von Neumann Archive contains numerous documents that have never been published in any form. The documents included in this volume have been selected on the basis of their direct relevance to von Neumann’s work on the foundations of quantum physics, the main topic of this volume. (...) Three kinds of documents are published here: letters by and to von Neumann, von Neumann’s 1954 address to the International Congress of Mathematicians in Amsterdam, and the unpublished manuscript “Quantum mechanics of infinite systems” authored by von Neumann. The comments below put these documents in context. (shrink)

Showcasing American music and music making during the Great Depression, Hard Luck Blues presents more than two hundred photographs created by the New Deal's Farm Security Administration photography program. With an appreciation for the amateur and the local, FSA photographers depicted a range of musicians sharing the regular music of everyday life, from informal songs in migrant work camps, farmers' homes, barn dances, and on street corners to organized performances at church revivals, dance halls, and community festivals. Captured across the (...) nation from the northeast to the southwest, the images document the last generation of musicians who learned to play without the influence of recorded sound, as well as some of the pioneers of Chicago's R & B scene and the first years of amplified instruments. The best visual representation of American roots music performance during the Depression era, Hard Luck Blues features photographs by Jack Delano, Dorothea Lange, Russell Lee, Arthur Rothstein, Ben Shahn, Marion Post Wolcott, and others. Photographer and image researcher Rich Remsberg breathes life into the images by providing contextual details about the persons and events captured, in some cases drawing on interviews with the photographers' subjects. Also included are a foreword by author Nicholas Dawidoff and an afterword by music historian Henry Sapoznik. Published in association with the Library of Congress. (shrink)

This research explores temporal concept drift and temporal alignment in knowledge organization systems. A comparative analysis is pursued using the 1910 Library of Congress Subject Headings, 2020 FAST Topical, and automatic indexing. The use case involves a sample of 90 nineteenth-century Encyclopedia Britannica entries. The entries were indexed using two approaches: 1) full-text indexing; 2) Named Entity Recognition was performed upon the entries with Stanza, Stanford’s NLP toolkit, and entities were automatically indexed with the Helping Interdisciplinary Vocabulary application, (...) using both 1910 LCSH and FAST Topical. The analysis focused on three goals: 1) identifying results that were exclusive to the 1910 LCSH output; 2) identifying terms in the exclusive set that have been deprecated from the contemporary LCSH, demonstrating temporal concept drift; and 3) exploring the historical significance of these deprecated terms. Results confirm that historical vocabularies can be used to generate anachronistic subject headings representing conceptual drift across time in KOS and historical resources. A methodological contribution is made demonstrating how to study changes in KOS over time and improve the contextualization historical humanities resources. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

This edition presents the hitherto largely unpublished correspondence between Hannah Arendt and Paul Tillich, and is supplemented by further important documents, taken from the Andover-Harvard Theological Library, the Library of Congress in Washington and the New York Public Library. This is the first time these documents have been published in full.