Category Archives: Area Studies

Global Studies, Humanities & Liberal Arts, Illuminating Explorations

Highlights from the William R. Braisted Collection

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Everyday Knowledge in Early Meiji Japan from UT Libraries’ Collections

“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.

The Braisted Collection

This exhibit highlights a selection of items from the Braisted Collection on Meiji Japan. The Braisted Collection was gifted to the UT Libraries by the late Professor Emeritus of History, Dr. William R. Braisted (1918–2017) in 2000. A Maryland native, Braisted was the son of an American naval officer and spent many of his early years in the Philippines, Hong Kong, and mainland China. He attended the Shanghai American School for part of his high school. Later, he received a BA from Stanford University and eventually an MA and a PhD from the University of Chicago in 1950. Braisted started teaching at the University of Texas at Austin in 1942 and retired in 1988,[1] and he was the founder of the East Asian Collections at UT Austin. Impressed by what he saw at the coastal elite institutions, especially the Harvard-Yenching Library, Braisted started advocating for and later became involved in building a working collection for Asian histories at the UT campus. In the 1950s, Braisted persuaded the History Department to provide funds to build the collection, when the University Libraries did not have an independent acquisition budget and relied on departmental funds to purchase materials. The first purchase order for Japanese materials was placed in 1953.[2] Before the first Asian Librarian, Dr. Tamie Tsuchiyama (1914–1984), arrived at UT in 1967, Braisted was instrumental in selecting and building UT’s East Asian collections.

The donation included many pre-20th-century materials, which were likely acquired by Braisted during his Fulbright trip to Japan from 1955 to 1956. At that time, Braisted was interested in researching the intellectual and political histories around the “Japanese Enlightenment” during the Meiji Restoration, and his attention specifically dwelt on a group of intellectual elites known as the “Meiroku club.” In popular historiography, the Meiji Restoration in 1868 marks the beginning of Japan’s “modern” era, when a group of rebellious and reformist Samurai overthrew the Edo Bakufu and “restored” the country to the rule under the Meiji Tennō. However, in their political outlooks, the Meiji political elite championed political, social, and military reforms modelled after the post-Enlightenment West. The Meiroku club, around whom Braisted built this collection, was a leading group of educators, politicians, and scholars who contributed to the reformist discourses during the early Meiji years.

Braisted’s research into the club ultimately culminated in his translation of the entire run of the Meiroku Zasshi 明六雑誌, the magazine edited and published by the group. For this project, he collected works written by the major figures in this intellectual circle, including Katō Hiroyuki 加藤弘之 (1836–1916), Nishimura Shigeki 西村茂樹 (1828–1902), Fukuzawa Yukichi 福沢諭吉 (1835–1901), Nishi Amane 西周 (1829–1897), and Mitsukuri Rinshō 箕作麟祥 (1846–1897).

Beyond works by these luminary figures, the Braisted Collection also included many books that were popular during the era, including textbooks, handbooks, news magazines, compilations of laws, parliamentary papers, etc. Last but not least, Braisted also meticulously collected Japanese scholarly monographs on the history, culture, diplomacy, and politics of the Meiji era.

This Exhibit

The Meiji era was a period of confusing and competing ideologies and thoughts, and many intellectuals shared an urgency and impulse to influence and educate the “masses” while a nationwide school system was being designed and built. This exhibit showcases some of the products of this dynamic moment in Japanese intellectual and cultural history. Many of the books were either produced to educate the general literate populace or to provide practical knowledge for everyday use. Also, books produced in this era appeared in different physical formats and had different appearances, as machine-powered printing technologies were making their way into Japan, while centuries-old woodblock printing still persisted.

Let’s start with the material hybridity of the books in this exhibit. Although post-Enlightenment wisdom from Europe flooded into Japan in the 1860s, industrialized book production did not move that quickly. Most of the books published in this era, as we see in this collection, were continuously made and bound in the traditional wasō 和裝 format and printed by woodblocks. Many continued to receive the iconic yellow cover from the Edo era, though some of those that were rushed to the market, for example, the news magazines, did not. Towards the end of the nineteenth century, industrialized printing became more widely available to Japanese publishers. Moveable type letterpress hence replaced the woodblocks to become the most prevalent way to print. However, many of the books still preserve the physical appearances one would expect to see in a woodblock, such as the frames that surround the texts and the vertical, right-to-left textual arrangement.

Before metal types became widely available in the late nineteenth century, woodblocks remained the primary way that Japanese books were made. As a versatile and flexible medium, woodblock can reproduce many different types of texts and images. An interesting example in this exhibit is the woodblock reprinted Dutch physics textbook, titled in Japanese Kakuchi mondō 格致問答 (Questions and answers in studies of the physical world). The book was published in the Netherlands by letterpress in 1814. Its Japanese publisher, Mitsukuri Rinshō, however, reproduced it by woodblock using his own handwriting.

FIGURE 1 First page in the main body of Kakuchi mondō

During the majority portion of the Edō era, the Dutch were the only Europeans allowed to maintain trade relations with Japan. Although they were physically confined on a small island called Dejima outside of Nagasaki, European knowledge, mediated by the Dutch merchants, penetrated into the Edō intellectual scene. A field called rangaku 蘭学 (Dutch Learning) emerged, but such studies were largely confined to medicine and natural studies. Mitsukuri was appointed by the last Shogun to lead the short-lived Bakufu office/school, Bansho shirabejo 蕃書調所, to study and collect Dutch books. The other Dutch book on the language’s syntax and grammar was also published by Mitsukuri in a similar manner.

Last but not least, this exhibit also includes a field manual for farmers from the Edō period, Seiu benran 晴雨便覧 (A convenient companion of sun and rain), dated to 1767. It includes sophisticated illustrations and diagrams informing farmers how to make decisions on agricultural activities. It was a ground-breaking work not only as a primer for understanding weather conditions but also to teach readers how to predict weather, considering both local geography and meteorological phenomena.[3]

FIGURE 2 Page 5a, vol. 1 in Seiu benran

The Meiji intellectuals’ push to educate the Japanese mass was also reflected in their efforts to establish schools across the country. The literacy/vocabulary primer, Tangō zue 単語図会 (Illustrated vocabulary) was published by one of the earliest normal schools established by the reformist Meiji elite. Its compilers were concerned that the Japanese children lacked an authoritative and systematic source of vocabulary of the new era. The vocabulary introduced in it range from everyday items from clothes to books, natural phenomena to new scientific notions. The book was produced using woodblocks and printed in color.

FIGURE 3 Page 6a in Tangō zue

The anthology Meiji bunhan 明治文範 (Model essays of the Meiji era) was compiled for students in Japan’s emerging normal schools in the early twentieth century. Normal schools themselves were complicated institutions. The student body of a normal school was often made up of teenagers and those in their twenties, and they would be assigned to schools at different levels after graduation. The anthology included in this exhibit was aimed at cultivating a baseline literary capability for the country’s new teachers. The essays included traditional literary poetry, an excerpt of the Meiji constitution, and newspaper articles.

Further reading

[1] Braisted 1947 report, Faculty-Staff Teaching Staff Personal Faculty Files, Biographical Data, Box/Vol/Ser no(s) 4S 77, UT Department of History Records, University of Texas Archive, Austin, TX. A detailed account of Braisted’s early intellectual journey can be found in William R. Braisted, Diplomats in Blue: U.S. Naval Officers in China, 1922-1933, (Gainesville: University Press of Florida, 2009), Preface.

[2] Susan Napier, “The Japanese Collection at the University of Texas,” The Library Chronicle of the University of Texas at Austin, vol. 27, no.3, 49­–51.

[3] Yoko Ogasawara 小笠原洋子, “Edo jidai no hitobito no daiki genshō ni taisuru ninshiki ni tsuite: minyō seiu benran saikō江戸時代の人々の大気現象に対する認識について : 『民用晴雨便覧』再考,” Otya no mizu tiri お茶の水地理, v. 38 (June 1997), 1¬–9.

Collections, Global Studies, Zines

Libraries Celebrate Comics at BIPOC PoP

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This March, five University of Texas Libraries staff members joined the vibrant and growing community of creators and scholars at the annual BIPOC PoP Symposium, an event that brings together writers, artists, gamers, students and academics to celebrate and build community around popular culture.

Sponsored by UT’s College of Liberal Arts and organized by staff from the campus’s own Latinx Pop Lab, BIPOC PoP offers UT Libraries a valuable opportunity to engage with creators and audiences whose work reflects the diversity of voices in contemporary storytelling. This year marked the second consecutive invitation for the Libraries to host a table in the exhibition hall.

Librarians Tina Tran, Gina Bastone, Adriana Cásarez, Yi Shan and Ana Rico shared a selection of graphic novels and comics from the Libraries’ collections – including paperback comics, zines, large-format art books, and young adult titles. These materials showcased the depth and variety of the Libraries’ long-standing commitment to collecting comics and graphic novels, particularly in the Perry-Castañeda Library’s popular and well-used collection.

Visitors expressed surprise and excitement upon learning about the comics collection at PCL, with many students vowing to stop by the library soon. Faculty members discussed potential class visits, underscoring the value of the collection as a teaching tool. A highlight of the event was meeting acclaimed comics creator John Jennings, who graciously signed the Libraries’ copy of After the Rain, which is now available in the collection (view in the catalog).

Libraries staff also made connections with local artists and small publishers, with an eye toward expanding the Libraries’ holdings of zines and independently produced comics in the near future.

As always, BIPOC PoP was a joyful celebration of creativity, community, and shared enthusiasm for the stories that shape our cultural landscape. TheLibraries is grateful to the Latinx Pop Lab and the Department of English for the invitation, and we look forward to returning next year.

Area Studies, Benson Latin American Collection, Humanities & Liberal Arts

Benson Collection Acquires Archive of Andrés Caicedo

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By ADRIAN JOHNSON

The Nettie Lee Benson Latin American Collection is pleased to announce the acquisition of literary and family archives of Colombian writer Andrés Caicedo. This collection joins other important regional literary collections of writers such as César Vallejo, Augusto Roa Bastos, and Julio Cortázar, increasing the importance of the Benson as a destination for students, faculty, and researchers from the United States, Latin America, and beyond.

Front page of an open book. On the right, inside a black border, a drawing in black ink of a young man with 1970s-style hair, a large chin and pursed lips, and clothing, dark sunglasses, a chain brandished in one hand and a large, bloody knife in the other. He stands in front of a graffitied wall that has a large area of its outer coating missing. His thin legs, in jeans, are in a wide stance. The title of the book, El Atravesado, is written vertically bottom to top along the left-hand side of the border in rough, handwritten all capitals; the name of the author, Andrés Caicedo, is written in the same style along the right-hand side.
Title page of “El Atravesado.” Benson Latin American Collection.

Within a decade of the publication of 100 Years of Solitude, which propelled Gabriel García Márquez and Colombia to the forefront of the Latin American literary scene, a 21-year-old Caicedo was self-publishing his first novela. El Atravesado (1975) was printed with a stamp opposite the title page reading Pirata Ediciones de Calidad (Pirata Quality Editions). Adorning the cover is a Ramones-esque sketch that the author had copied and enhanced from a bootlegged Rolling Stones album cover: a sunglasses-clad rebellious youth in front of a deteriorating and graffitied wall, a chain in one hand and a bloody knife in the other, ready for a fight. The story is one of youth in street gangs who have lost all faith in adulthood, living in the chaos of urban disorder, brawls, and parties, who yearn for a better world.

Inside cover of a book, with author's name, title, and publisher's seal. There is messy handwriting all over the page. On the left, you can see the dark illustration of a man, similar to that of the cover, from the previous page bleeding through.
Inside cover of “El Atravesado,” with handwritten dedication and Ediciones Pirata seal. Benson Latin American Collection.

An intellectually curious lover of movies and letters, Caicedo began writing at the age of 10 and never stopped. He wrote plays, published stories in newspapers, and published Ojo al Cine, a film magazine that ran from 1974 to 1976. On March 4, 1977, at the age of 25, just after receiving the editor’s copy of his first published full-length novel, Que viva la música, Caicedo died by suicide. Que viva la música went on to become his best-known work, and would give voice to a generation of Colombia’s youth, offering a socially realistic alternative to the magical realism of García Márquez and other writers of the Latin American Boom.

A magazine cover features a very faded and large image of a woman's eyes, nose, and mouth—close-up of a face, in pale grays. The title of the magazine, "Ojo al Cine" is printed in bold black type, all lower-case, along the bottom, in addition to the number 5 in a circle. Along the borders of the cover are names of authors and other writing, including the magazine's subtitle, "La crítica cinematográfica en Cuba y América Latina."
Cover of issue 5 of the film criticism magazine “Ojo al Cine.” Benson Latin American Collection.

Caicedo already had a loyal following by the time of his death, but most of his writing was never published, or was limited to local and serial publications. His father, with whom he had fraught relations, discovered many of his manuscripts several years after his death. He led the creation of a family foundation dedicated to preparing and publishing the entire corpus of Caicedo’s writing. Caicedo’s renown has continued growing as publications are translated and published until today.

Yellowed newspaper clippings from a film review in Spanish are arranged on a white background show the large title of a review of the Godfather Part 2 by Andrés Caicedo with the made-up onomatopoeic word "uuuuuuuuggf" in it. The title of the publication, at top, is El Pueblo Estravagario, dated Sunday, October 19, 1975.
Review of “The Godfather 2” by Andrés Caicedo, including creative use of onomatopoeia, published in El Pueblo Estravagario.

The Andrés Caicedo Collection contains materials collected by the author’s sister, Rosario Caicedo, and includes manuscripts, photographs, correspondence, rare publications, press clippings, and family photo albums. Some of the most important documents in the collection are letters to and from his parents, Carlos Alberto and Nellie Estela, and his sister, Rosario, in the last years of his life. Several folders in the collection document Caicedo’s involvement in the Cine Club de Cali, including issues of the magazine Ojo al Cine. Finally, family photo albums of his parents and grandparents document the life of his family in the first decades of the twentieth century.

A yellowed sheet of unlined paper, edges badly damaged with stains in some areas, contains a typewritten letter from the author to his father, whom he addresses are Carlos Alberto. It is signed in blue pen.
Letter from Caicedo to his father, signed ‘Tu Hijo (Que te pesa)’. Benson Latin American Collection.

This collection supplements the Archivo Andrés Caicedo, donated by the family to the Biblioteca Luis Ángel Arango in Bogotá, Colombia, and helps present a side of Caicedo that brings a wider understanding to his life and his literary corpus. View the contents of the archive at Texas Archival Resources Online.

En español: Read “El Segundo archivo de Andrés Caicedo llega a Texas” by Yefferson Ospina, UT Austin Graduate Research Assistant who worked on processing the archive.

Adrian Johnson is Head of User Services at the Benson Latin American Collection, and Librarian for the Andean Region.

Area Studies, Features, Global Studies, Libraries, Read Hot and Digitized

Read, Hot and Digitized: A Digital Survey of the Scottish Witch Trials

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The witch trials of Europe in the early modern period, from about 1400 to 1775, resulted in the prosecution, often violent, of over 100,000 people. Studying this history and understanding its causes—which were multifaceted, and incorporated elements of religious persecution of alleged heresy, superstition, and religious conflict between Catholics and Protestants—is an important way we can understand the motivations of past atrocities and learn from them to avoid similar violence and intolerance in the future. The Witches: Survey of Scottish Witchcraft project at the University of Edinburgh is one project that makes this history more broadly accessible and understandable both to scholars and the general public.

The site itself contains an excellent introduction to the history of witch trials in Scotland. It states:

During the sixteenth and seventeenth centuries Scotland went through a series of changes to the state and church which fuelled the Scottish witch hunt. As a result of the Reformation, when Scotland broke away from the Catholic Church and moved towards Protestantism, the church went through an upheaval of religious belief and became much more interested in what ordinary people did and believed. 

This concern led to great concern from Church and state about people’s religious beliefs and practices, deviations from behavior expected by the Church and society (such as not attending Church on a Sunday), and witchcraft. More than 4,000 people were prosecuted for witchcraft in Scotland between 1563 and 1736, and confessions were often evinced using torture. Of people accused of being witches it is estimated that around 2,500, or roughly two-thirds, were executed, with the majority of those executed (about 85%) being women.

The main map on the site’s landing page, showing locations where witches in the database lived.
The main map on the site’s landing page, showing locations where witches in the database lived.

The site’s most striking feature is a map showing accused witches’ residences and details about their case and personal lives, including their occupations. This provides an intuitive and visually appealing way to explore the dataset, and allows for free exploration of the data without digging into the spreadsheets and metadata underlying the map. Users can also search the complete dataset used to make the map, exploring the same by searching for an accused’s name. In addition to these exploratory tools, the site also features a very helpful introduction that explains many details of the dataset and provides further background information, as well as a number of additional visualizations. Particularly affecting is the Story of Isobel Young visualization, which chronicles the life and death of one woman who was accused of witchcraft and executed.

The Story of Isobel Young visualization, showing a map of places where Isobel lived and background information on the Scottish Witchcraft Act of 1563.
The Story of Isobel Young visualization.

The site also provides a host of references that provide scholarly background on the history of witch trials in Scotland. There are also a number of resources, including a GitHub repository for the project’s website and the CSV files used to make the map. It also provides lists of accused witches, trials, people involved, and memorials and sites of interest within Scotland that users may wish to visit.

The Witches: Survey of Scottish Witchcraft site offers a robust but inviting introduction to this period of European history. I encourage you to explore the site for yourself and find out what it has to offer.

Related resources at the UT Libraries:

Witch Hunts in Europe and America: An Encyclopedia

Demonology and Witch-hunting in Early Modern Europe

Witch Hunts: A history of the Witch Persecutions in Europe and North America

Benson Latin American Collection, Collections, Collections Highlight, Humanities & Liberal Arts

Archive of Cristina Rivera Garza, Winner of the Pulitzer Prize, Acquired by Benson Latin American Collection

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By LAUREN PEÑA, PhD

The Nettie Lee Benson Latin American Collection is pleased to announce the acquisition of the literary archive of distinguished Mexican author and professor Cristina Rivera Garza, a recipient of the Pulitzer Prize and MacArthur Fellowship. This archive enhances the Benson’s extensive collection of materials that embody Latin American literary tradition, intellectual thought, and leadership, reflecting the stature of the library and the University of Texas at Austin campus as an invaluable resource for students, faculty, and researchers globally.

Cristina Rivera Garza, born in 1964 in Matamoros, Tamaulipas, is one of the most influential and innovative contemporary Mexican authors. She has been the recipient of Mexico’s most prestigious literary accolades, including the Sor Juana Inés de la Cruz Prize, which she won twice. Her writing defies traditional literary genres, blending historical research, speculative fiction, and linguistic experimentation to challenge dominant narratives and conventional storytelling.

Three women with dark hair sit on the ground. The mother is at the far left, smiling. The daughter in the middle has wavy dark hair, wire-rimmed glasses, and overalls. Her sister, on the right, has short, dark hair and a moody expression.
The author Cristina Rivera Garza, center, with her mother, left, and her sister Liliana Rivera Garza. Undated photo. Cristina Rivera Garza Papers, Benson Latin American Collection.

Rivera Garza’s works, including Nadie me verá llorar (1999), Dolerse: Textos desde un país herido (2011), El mal de la taiga (2012), and El invencible verano de Liliana (2023), engage deeply with themes of gender violence, loss, and memory. Through these narratives, she explores Mexico’s complex socio-political landscape, giving voice to silenced histories.

The Benson Latin American Collection presents An Evening with Cristina Rivera Garza on Monday, April 14, 2025. Find details here.

Rivera Garza grew up along the U.S.–Mexico border, a region rich in cultural traditions and marked by the fluidity of languages, identities, and experiences. This liminal space shaped her literary and academic sensibilities, fostering a transnational perspective that permeates her work. She studied urban sociology at the National Autonomous University of Mexico (UNAM), a premier academic institution, and later earned a doctoral degree in Latin American history from the University of Houston. This academic background plays a crucial role in her writing, allowing her to seamlessly weave together fiction, poetry, and scholarly research.

Rivera Garza’s acclaimed novel Nadie me verá llorar (1999) exemplifies her unique ability to fuse historical research with fiction. Set in a mental health institution in early-twentieth-century Mexico, the novel tells the tragic love story of Joaquín, a photographer and addict, and Matilda, a rebellious patient whose life defies social conventions. However, the novel transcends this romantic premise. It has become a powerful meditation on how medical discourse and institutional power define sanity and madness in Mexico’s tempestuous historical past. Through her prose, Rivera Garza captures the fragility of memory while critiquing the oppressive systems that define these mental states.

English translation of a page of No One Will See Me Cry in page proofs, with handwritten query in the right-hand margin.
Page proof of English translation of No One Will See Me Cry, with query. Cristina Rivera Garza Papers, Benson Latin American Collection.

Language itself has become a central theme in Rivera Garza’s work. She experiments with form, voice, and narrative structure, often incorporating archival fragments, poetic interludes, and hybrid genres. In works like Dolerse: Textos desde un país herido, La muerte me da, and El invencible verano de Liliana, the author uses language not only as a medium of expression, but as a tool of resistance. She gives voice to the grief and trauma of gender-based violence, while simultaneously interrogating the silences imposed by official histories and institutionalized narratives.

Two young women stand outside a house. The one on the left, Liliana, is wearing white and looking down. The one on the right, Cristina, is laughing and looking at the camera, her hands in the pockets of her brown pants.
Cristina Rivera Garza, right, with her sister Liliana Rivera Garza. Undated photo. Cristina Rivera Garza Papers, Benson Latin American Collection.

El invencible verano de Liliana (2021, published in English as Liliana’s Invincible Summer in 2023) is one of her most intimate and politically charged works. This book serves as a tribute to her younger sister, Liliana Rivera Garza, who was murdered by her ex-boyfriend in the summer of 1990. Written decades later, the text functions both as an act of remembrance and a form of literary justice. Through its narrative, Rivera Garza reconstructs Liliana’s life and the circumstances surrounding her death by utilizing her sister’s personal writings, diary entries, letters, and official documents. In doing so, she transcends traditional literary classifications and crafts a work that challenges the conventions of genre. In prose that encapsulates the intimacy of sisterhood, she deploys precise language that condemns the systemic impunity and gender-based violence that persists in Mexico.

Image from book cover. The title, El Invencible Verano de Liliana is written in green, blue, and pale lime-green. Below the title and the author's name is a photograph of a young woman with a hoop earring visible in one ear, wearing a pinkish button-down shirt. Behind her is mostly dark, although a blurry forest appears toward the top of the frame.
Cover, “El invencible verano de Liliana.”

Rivera Garza captures the essence of the women’s resistance movement against gender violence in a deeply personal yet politically charged reflection. When she writes, “These grassroots movements have attracted more and more women, younger women, women who grew up in a city, and a country, that harasses them every step of every day, never leaving them alone or offering respite. Women always about to die. Women dying and yet alive” (Liliana’s Invincible Summer, p. 9). The repetition of the word women underscores the collective suffering, while the paradox—“women dying and yet alive”—conveys the precarious existence of women living under constant threat, trapped in a liminal space between life and death.

Integrating her sister’s voice through preserved writings becomes Rivera Garza’s ultimate act of resistance—one that not only prevents the erasure of victims, but also critiques the sanitized language of legal and forensic reports, exposing the dehumanizing bureaucracy that often surrounds cases of femicide. By capturing the complexity of mourning and the struggle for justice, Rivera Garza denounces a broader social epidemic while issuing a powerful call to remember, fight, and resist.

Through her bold and experimental body of work, Cristina Rivera Garza has redefined the boundaries of Latin American literature. Her writing follows in the footsteps of a constellation of authors such as María Luisa Puga, Gloria Anzaldúa, and Alicia Gaspar de Alba, whose archives are also held at the Benson, offering readers a powerful lens through which to examine the intersections of personal and collective memory, violence, and resistance.

Cover of a literary magazine with the title in yellow and red. A thin line drawing adorns most of it.
Student literary publication from UNAM. Cristina Rivera Garza Papers, Benson Latin American Collection.
Poetry by Cristina Rivera Garza printed on the yellowing pages of a student literary magazine.
Poem published during her time at UNAM. Cristina Rivera Garza Papers, Benson Latin American Collection.

The Cristina Rivera Garza Papers, now part of the Benson Latin American Collection at the University of Texas at Austin, contains poetry, photographs, essays, correspondence, and manuscripts. Among the highlights of the collection are letters between the author and her sister, Liliana Rivera Garza. This rich archive offers scholars and students an unprecedented opportunity to engage with Rivera Garza’s creative process from conception to completion. Her literary contributions will undoubtedly continue to shape contemporary literature for generations to come.

Lauren Peña, PhD, is head of collection development at the Benson Latin American Collection.

Digital Humanities, Digitization, Global Studies, Texas ScholarWorks

Israeli Literary Magazine Digitization Project Complete

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https://repositories.lib.utexas.edu/handle/2152/29709

Iton 77 is one of the prominent literary magazines of literature, poetry, and culture in Israel.[1] The UT Libraries has cooperated with the publishers of Iton 77 since 2013 and recently finished the digitization of 391 issues, bringing almost the whole run online.[2] Additional issues will be digitized or added as digitally-born files in the near future. This is the most complete digital archive of Iton 77 currently in existence. Being a searchable, full text archive, openly accessible to the public worldwide with no restrictions, it promises to be a valuable resource for scholars as well as for the general public.

Established by the late poet and editor Yaakov Besser in 1977, the magazine is now celebrating 48 years of commitment to literary work. Many Israeli poets and authors published their first texts in Iton 77, and it is still a desired platform for emerging and experienced writers alike. Published works include poems, short stories, book reviews, literary criticism and research, opinion editorials, essays, and works in translation. Wide representation is given to Israeli writers who write in languages other than Hebrew, such as Arabic, Russian, and Yiddish. Being a pluralistic platform, Iton 77 is open to alternative narratives and opinions, acknowledging the importance of historical contexts while discussing the complicities and difficulties of Israeli existence.  Current editors are Yaakov Besser’s son, Michael Besser, and ‘Amit Yisre’eli-Gil’ad.

Upon the acquisition of some print back issues of the magazine in 2013, UT Libraries and the Iton 77 publishing house discussed a future online visibility for the publication, and the possibility for hosting the digital issues on the UT Libraries digital repository – now known as Texas ScholarWorks or TSW. Like many other digital repositories, TSW was established to provide open, online access to the products of the University’s research and scholarship, and to preserve these works for future generations. In addition, TSW is also used as a platform for digital content that is not necessarily created on campus, but is rather a product of cooperation with off campus content owners, such as the Iton 77 publishing house. 

Screenshot of a Texas ScholarWorks repository page from The University of Texas at Austin, displaying metadata for "Iton 77, issue 001." The page includes a thumbnail image of the magazine cover, access to full-text PDF files, publication date (1977-02), authors (Besser, Micha; Gilad-Yisre’eli, Amit), and publisher (Iton 77). It also lists the department (UT Libraries), keywords and LCSH subject headings related to Israeli literature and periodicals, and links to the item's URI and DOI.

TSW provides stable and long-term access to submitted works, as well as associated descriptive and administrative metadata, by employing a strategy combining secure backup, storage media refreshment, and file format migration. Conveniently and helpfully, all works submitted to TSW are assigned persistent URLs, – permanent web addresses that will not change overtime.

All scanned issues of Iton 77 have been OCR-ed for full-text searchability and can be downloaded either as text or PDF files. Currently issues are sortable by date and title, with sorting by author and subject in the works. With the permission of UTL and the Iton 77 publishing house, most of the content is mirrored and indexed on the Ohio State University Modern Hebrew Literature Lexicon.

The total number of downloads of all issues to-date is 241,947. Issues are viewed and downloaded from every corner of the globe. Not surprisingly, most of the users are from Israel, with the United States and Germany in second and third place. Other Hebrew readers connect from many other countries, including Egypt, Japan, Togo, and Syria. 

The most popular issue since going online in TSW with 6194 downloads to-date is the double issue from January 1987, called the ‘decade issue.’ It celebrated some of the most prominent Israeli authors, poets, and essayists of that time, such as Yitsḥaḳ Aṿerbukh Orpaz, Aharon Meged, Erez Biton, A.B. Yehoshua, Dalia Rabikovitch, Anton Shamas, Shimon Balas, and many others.

We are excited about this partnership to bring Iton 77 to a global audience in this stable open access format and encourage all to browse and use it! 

Iton 77 double issue 84-85 (January 1987). https://hdl.handle.net/2152/75368

[1] “Iton” is the transliterated form of the Hebrew word for “newspaper” (עתון).

[2] This count includes 67 double-issues. Three issues (200; 293; 341-342) were published as printed books and are not included in the project.

Acquisitions/Foreign Travel, Global Studies

Back to Egypt via Türkiye

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In December 2024, after classes came to a close, I took a brief trip to Istanbul, Türkiye, with the hope of acquiring pivotal Arabic-language journals that had been published in Egypt. I’ve written for the TexLibris blog before on the importance of looking for essential research materials in unexpected places, such as Arabic in Türkiye. This trip was yet another example.

So, what were these texts that I traveled across the Atlantic in order to secure for the UT Libraries researcher community? One of them is مجلس النواب مجموعة المضابط (Majlis al-Nuwwab: Majmu’at al-Madabit/Meeting Minutes of the House of Representatives). I acquired 18 volumes of this title, representing the record of the discussions and decisions taken by a House of the Egyptian Parliament in the late 1920s and 1930s. This title had been on my radar ever since I acquired مجلس الشيوخ مجموعة المضابط (Majlis al-Shuyukh: Majmu’at al-Madabit/Meeting Minutes of the House of Lords) a few years ago. That title consists of the records of the House of Lords of the Egyptian Parliament from the 1930s to the 1950s. My goal was to complement the House of Lords collection with the House of Representatives’ records from nearly the same time period so that UT Libraries is able to offer researchers a comprehensive record of Egyptian Parliamentary activity from the early 20th century. These types of government records may seem fairly mundane, but they are, in fact, remarkably difficult to locate outside of official copies kept at the Egyptian National Archives. In North America, UT Austin is one of four holding institutions for Majlis al-Shuyukh: Majmu’at al-Madabit, and one of five holding institutions for Majlis al-Nuwwab: Majmu’at al-Mudabit. I am eager to see the scholarship that arises from the presence of these crucial and rare titles at the UT Libraries, and I encourage scholars from other research institutions to consider visiting UT Libraries to consult these materials.

Majlis al-Nuwwab
Majlis al-Nuwwab
Majlis al-Nuwwab

The second title that I acquired is الموسوعة الجنائية (al-Mawsu’ah al-Jina’iyyah/Encyclopedia on Criminal Law) by legal scholar Jindi Abd al-Malik Bayk. This work, published in the 1930s, is an encyclopedia of Egyptian criminal law structures and standards. It chronicles the historical development of criminal law, doctrinal formation, and the rules that came to be adopted in modern Egyptian criminal law. This title also includes the substantive case law that underpins some of the key assumptions and orientations for criminal procedure and criminality in Egypt.

al-Mawsu’ah al-Jina’iyyah
al-Mawsu’ah al-Jina’iyyah
al-Mawsu’ah al-Jina’iyyah

The third title, الدنيا المصورة (al-Dunya al-Musawwarah/The Illustrated World), was published between 1929-1932. It was a weekly journal from the famous Dar al-Hilal publishing house, responsible for numerous impactful intellectual and popular periodicals in early 20th century Egypt. Edited by Emil and Shukri Zaydan, al-Dunya al-Musawwarah was renowned for its caricatures and the artists behind them, as well as for its plethora of photographs. It also featured influential articles by foundational litterateurs and political commentators, such as Fikri Abaza (فكري أباظة). UT Austin is now one of a only a handful of North American institutions with any holdings of this important title. al-Dunya al-Musawwarah complements our existing collection of early 20th century Arabic periodicals that I have been building since joining UT Austin 10 years ago. Other notable titles include البلاغ الأسبوعي (al-Balagh al-Usbu’i/The Weekly Calling), الهلال (al-Hilal/The Crescent), المصور (al-Musawwar/The Illustrated), and الكواكب (al-Kawakib/The Planets).

al-Dunya al-Musawwarah
al-Dunya al-Musawwarah
al-Dunya al-Musawwarah
al-Dunya al-Musawwarah
al-Dunya al-Musawwarah

As I continue my work to maintain our existing collections and expand upon them, it is my hope that complementary titles such as these—titles that work together and extend the knowledge already present in the UT Libraries’ collections—will make crucial connections for UT Austin researchers and beyond. I invite anyone interested to learn more about these materials and/or our Middle Eastern Studies collections to reach out for a consultation.

Books, Development, Humanities & Liberal Arts

Libraries Hosts Literary Salon in Houston with Hamilton Winner Hillis

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In a celebration of literature, biodiversity, and Texas’ natural beauty, the Libraries hosted a literary salon in Houston on Monday, February 24, featuring acclaimed author and UT Austin professor David M. Hillis. The event, generously hosted by Tom and Reggie Nichols—former Libraries Advisory Council members and proud UT alumni—highlighted UT Libraries’ role in supporting critical research and advancing fundraising initiatives.

L-R: Tom and Reggie Nichols, Lorraine Haricombe, Claire Burrows.

The evening centered around Hillis’ latest book, Armadillos to Ziziphus: A Naturalist in the Texas Hill Country, a deeply personal and scientifically rich exploration of the Hill Country’s diverse landscapes. Guests received copies of the book and were treated to a special reading of the chapter The Last Wild River, in which Hillis wove together the history of the Lower Pecos River with his own experiences.

Armadillos to Ziziphus was named grand prize winner at the 2024 Hamilton Book Awards.

Vice Provost Lorraine Haricombe welcomed attendees and invited them to browse a curated selection of materials from the Life Science Library, showcasing works on Texas’ biodiversity and environmental history.

Hillis, who serves as director of the Biodiversity Center at UT Austin’s College of Natural Sciences, is renowned for his contributions to evolutionary biology. A MacArthur Fellow and member of the U.S. National Academy of Sciences, he has discovered numerous species, including Austin’s iconic Barton Springs Salamander. His book reflects his lifelong passion for conservation, encapsulated in his belief:

“The more we understand and experience nature, the more of it we will appreciate, and the more we will seek to protect it for future generations to enjoy.”

The evening reinforced the Libraries’ commitment to fostering intellectual engagement while celebrating the invaluable research and scholarship at The University of Texas at Austin.

Global Studies, Read Hot and Digitized

Read, Hot and Digitized: The Mixtape Museum

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Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.

Before we had Spotify playlists, we had the mixtape. Scrawled handwritten track lists; the precise practice of hitting PLAY and REC at the same time; the dread of ejecting the cassette from the player to find the tape had been pulled into a tangled mess and using a pencil to carefully respool it.

A definition of the word mixtape. Noun: Traditionally recorded on to a compact cassette, a mixtape is a compilation of songs from various sources arranged in specific order.
A screenshot from the About section of The Mixtape Museum.

The Mixtape Museum (MXM) is a digital archive project and educational initiative committed to the collection, preservation, and celebration of mixtape history. The project seeks to both further mixtape scholarship and foster public dialogue, raising awareness of the artistry and far-reaching impact of mixtapes as a cultural form.

An image of a handwritten track list on a mixtape
Stephen J. Tyson Sr. Collection.

The Mixtape Memory Collection is the heart of the MXM, bringing together interviews, anecdotes, photographs, and reflections from a mix of contributors. There are tributes to mixtape pioneers, reminiscences about childhood introductions to Hip Hop, and laments for tapes not saved. I appreciated this brief recollection of a “mixtape correspondence” as it underscores the richness of the form as a mode of communication.

While mixtapes are the anchor point, these memories are also about people and places, relationships and phases, marking connections between a cultural era and the personal eras of our lives. The Collection reveals how music indexes experiences and moments in time, and also attests to the way particular objects can become imbued with layers of meaning and cultural significance. Even in the digital space of the MXM, I am struck by the affective resonance of the physical cassettes themselves, each containing a story that stretches beyond the tape wound inside it.

An image of eight cassettes with handwritten labels
DJ Red Alert, Ismael Telly Collection.

In addition to the Memory Collection, the MXM includes a News section of related articles and public events, and a Mixtape Scholarship Library featuring key texts in the field. Appropriately, there is also a Listen section, which takes visitors to the Mixtape Museum Soundcloud page, where today’s creators might upload their tracks instead of passing out their tapes.

Aligned in a sense with the ethos of the format it highlights, the MXM operates from a simple WordPress site—a platform with a relatively low barrier of entry for producing digital content. The project was founded by scholar, arts administrator, and community archivist Regan Sommer McCoy, who serves as Chief Curator, supported by a group of advisors and institutional collaborators.

As I browse the collection my own mixtape memories surface—a tape gifted to me by a former best friend that I played on repeat during my freshman year of high school; my painstaking efforts to create the perfect mix to let a crush know the way I really felt about him. Does the MXM spark a mixtape memory for you? The project welcomes submissions to the archival collection and invites a variety of formats. Contributors have the option to make memories public or keep them password protected, respecting the boundaries of each offering.

Want to learn more about mixtape culture and history? Several of the titles featured in the MXM are available from the UT Libraries:

Auerbach, Evan, and Daniel Isenberg. Do Remember! : The Golden Era of NYC Hip-Hop Mixtapes / Evan Auerbach, Daniel Isenberg. New York, NY: Rizzoli International Publications, Inc., 2023. 

Burns, Jehnie I. Mixtape Nostalgia : Culture, Memory, and Representation / Jehnie I. Burns. Lanham: Lexington Books, 2021.

Moore, Thurston. Mix Tape : The Art of Cassette Culture / Edited by Thurston Moore.1st ed. New York, NY: Universe Pub., 2004

Taylor, Zack, Georg Petzold, and LLC Seagull and Birch. Cassette : A Documentary Mixtape / a Film by Zack Taylor ; Directed, Produced, and Filmed by Zack Taylor ; Edited, Produced, and Additional Camera by Georg Petzold ; Seagull and Birch, LLC. El Segund

Walker, Lance Scott. DJ Screw : A Life in Slow Revolution. Austin: University of Texas Press, 2022. 

Benson Latin American Collection, Digital Humanities, Digital Scholarship, Global Studies, LLILAS Benson, Uncategorized

Spanish Paleography + Digital Humanities Institute Focuses Research on Colonial Texts

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Scholars and graduate students from institutions across the country gathered at the Benson Latin American Collection for the Spanish Paleography + Digital Humanities Institute. The immersive three-day program provided intensive training in reading and transcribing Spanish manuscripts from the 16th to 18th centuries while introducing participants to digital humanities tools that enhance historical research.

Funded by  LLILAS’s U.S. Department of Education’s Title VI Program and the Excellence Fund for Technology and Development in Latin America, the institute sought to equip researchers with specialized skills to navigate colonial texts, visualize historical data, and foster a collaborative academic community. The event was spearheaded by LLILAS Benson Digital Scholarship Coordinator Albert A. Palacios, and brought together a cohort of graduate students and faculty members specializing in history, literature, linguistics, and related disciplines.

The institute focused on three key objectives: providing paleography training, introducing participants to digital humanities tools, and fostering a collaborative research network. Participants engaged in hands-on workshops to develop their ability to accurately read and transcribe colonial manuscripts. They also received instruction on open-source technologies for text extraction, geospatial analysis, and network visualization. The program fostered a community of scholars who will continue sharing insights and resources beyond the institute.

Participants had the opportunity to work with historical materials, including royal documents, inquisition records, religious texts, and economic transactions. Case studies were examined through paleography working groups, where scholars collaboratively deciphered difficult handwriting styles and abbreviations.

To apply their newly acquired digital humanities skills, each participant developed a pilot research project using Spanish colonial manuscripts. These projects utilized handwritten text recognition (HTR) technology, geographical text analysis, and data visualization tools to enhance historical inquiry. The final day of the institute featured a lightning round of presentations, allowing scholars to showcase their preliminary findings and discuss future applications.

This year’s participants hailed from universities across the U.S., including the University of Chicago, the University of North Texas, Columbia University, the University of Texas at El Paso, the University of California-Santa Barbara, Purdue University, City College of New York, West Liberty University, Oklahoma State University, and the University of California-Merced. The interdisciplinary nature of the group enriched discussions, providing diverse perspectives on archival research and manuscript interpretation.

A highlight of the institute was the introduction and use of the handwritten text recognition (HTR) model the LLILAS Benson Digital Scholarship Office trained and recently launched on 17th and 18th century Spanish handwriting preserved at the Benson. This innovation is expected to significantly accelerate the study of colonial-era documents and democratize access to these historical resources.

Additionally, the program provided a comprehensive list of recommended paleography resources, including books, digital collections, and online tools to support continued scholarship in Spanish manuscript studies.

Palacios is leading an online Spanish version of the institute for participants worldwide this spring and fall. He will be leading another onsite institute June 4-6, 2025.The demand for the LLILAS Benson Spanish Paleography + Digital Humanities Institute in the Colonial Latin Americanist field underscores the growing interest in merging traditional archival research with computational methodologies. By equipping scholars with both paleographic expertise and digital tools, the institute is paving the way for innovative research on the Spanish Empire and its historical records.