Category Archives: Area Studies

Read, Hot and Digitized: The Open Siddur Project: A Gateway to Open-Source Judaism

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.

A siddur (pl. Siddurim) is a Jewish prayer book containing the order of daily, Shabbat (the Sabbath), and holiday services. The word siddur means ‘arrangement,’ or ‘putting things in order’ in Hebrew, and the siddur provides a structured liturgy that includes prayers, blessings, and scriptural verses. These books are used in both synagogues and private homes and vary among different Jewish communities and denominations. They are often available both in Hebrew and in translation to the language of the local community where they are being used.

The Open Siddur Project is a “volunteer-driven, non-profit, non-commercial, non-denominational, non-prescriptive, gratis (without cost) and libré (without restriction) Open Access archive of contemplative praxes, liturgical readings, and Jewish prayer literature (historic and contemporary, familiar and obscure) composed in every era, region, and language Jews have ever prayed.”[1] It provides a platform for sharing open-source resources, tools, and content for individuals and communities crafting their own prayerbook with content that pertains to their own life cycle.

Aharon Varady, a community planner and Jewish educator who founded the project in 2002 and directs it to this day, is a key figure in open-source Judaism, an initiative that uses open-source principles to create and share Jewish cultural and liturgical works. He believes that “the commodification of prayer texts, historical or contemporary, is anathema to Jewish spiritual practice.” Asserting that “the underlying unformatted text of a liturgical reading or prayer … must remain accessible for redistribution and adaptive reuse,” the project’s values are aligned with the definition of open content and open data maintained by the Open Knowledge Foundation, the definition of open-source maintained by the Open Source Initiative, and the four values of libre/free culture.[2]

Image 1: view of main categories and upcoming festivals, feast & fasts

The Open Siddur Project’s main page includes six sections, through which various prayers and related content could be discovered. The Project’s activity ‘heatmap’ displays a calendrical grid of resources published by the project over the course of each year since inauguration, alongside a display of recent contributors. The next section includes recently added prayers and related content (e.g., “Thanksgiving to the Almighty for the Diamond Jubilee of Her Majesty the Empress Victoria, by Joseph Ezekiel Rajpurkar at Gates of Mercy Synagogue, Bombay (20 June 1897)). Additional sections on the main page present selected sub-categories and calendars.

The database itself is organized around four main categories: Prayers & Praxes; Liturgical Readings, Sources, and Cantillation; Compiled Prayer Books; and Miscellanea — each of which has its own sub-categories. For example, under Prayers & Praxes, one can find prayers for after “Earthquakes & Tsunamis,” or prayers “composed for, or relevant to, conflicts over sovereignty and dispossession.” Additional sub-categories include “Commemorative Festivals & Fasts” (e.g., Hannukah), as well as “civil days on civil calendars;” e.g., Transgender Day of Remembrance (November 20th), Human Rights Day (December 10th), and even one prayer for May the Fourth, “marking the success of the Rebel Alliance in defeating the Galactic Empire.”

Image 2: The Jewish Prayer of the Dead, adapted for commemorating victims of lethal hate-crimes against Transgender people. This version was originally written for Queer Jews at Brandeis’s Transgender Day of Remembrance Services on 20 November 2024.

Additional points of discovery and access are available by clicking on the top right search button. There are indices of languages & scripts, and authors & contributors, as well as categories index and various how-to guides. 

The whole project is backed up and downloadable on GitHub. Unsurprisingly for an open access project, the default license under which all content is shared online is the Creative Commons Attribution/ShareAlike (CC BY-SA) 4.0 International license. A such, content could be shared through email and a few social media platforms.

The Open Siddur Project is used by students studying private and communal Jewish prayer in its literary and historical context, educators preparing curricular resources, authors of new prayers and liturgies, translators of prayers new and old, transcribers of digital text from printed and handwritten works, and ultimately, living practitioners actively producing new prayerbooks for their communities.

Let us end this post with a Prayer for Librarians!

Siddurim and Jewish liturgy in UTL collections:

Katz, Ariana. 2024. For Times Such as These : A Radical’s Guide to the Jewish Year / Rabbi Ariana Katz & Rabbi Jessica Rosenberg. Detroit, Michigan: Wayne State University Press. E-Book.

Langer, Ruth. 2015. Jewish Liturgy : A Guide to Research / Ruth Langer. Lanham, Maryland: Rowman & Littlefield. E-Book.

Salmon, Howard, and Benjamin Sharff. 2008. Comic Book Siddur : For Shabbat Morning Services / Howard Salmon, Artist & Interpreter ; Benjamin Sharff, Editor. Tucson, AZ: Howard Salmon.

[Siddur] Rabbinical Council of America. 2018. Sidur ʻAvodat Ha-Lev / Rabbi Basil Herring, Editor-in-Chief. New York, N.Y. : Rabbinical Council of America.

Siddur (Reform, Israel Movement for Reform and Progressive Judaism). 2020. Tefilat ha-Adam [Prayer of Humankind] : An Israeli Reform Siddur. Jerusalem : Israel Movement for Reform and Progressive Judaism.

Non-UT resources:

Open-Source Judaism (with Aharon Varady, founding director of The Open Siddur Project) [podcast, including full-text transcript] – The Light Lab, episode 60 (72 min.).


[1] https://opensiddur.org/

[2] The four values are: the freedom to use the work, the freedom to study the work and apply knowledge acquired from it, the freedom to make and redistribute copies of the information or expression, and the freedom to make changes and improvements, and to distribute derivative works. See https://freedomdefined.org/Definition.

From Counterculture to the Classroom

A growing number of University of Texas faculty are turning to zines – self-published, often handmade works of art and expression – as a powerful tool for learning, collaboration, and research. Once viewed primarily as underground artifacts of DIY culture, zines have become a bridge between creative expression and academic inquiry, and the Libraries are helping to broaden their application in study and research.

Zines aren’t a new phenomenon – these self-published, staple-bound  booklets emerged in the 1930s as fan-productions (fanzines) and, in the 1960s and 70s, evolved into self-published outlets for activism, punk rock, feminism, and subcultural voices. In the last 20 years, libraries started collecting these ephemeral publications, finding them valuable to researchers and students.

Most of the zine collections are housed in the Fine Arts Library, the UT Poetry Center at the Perry-Castañeda Library and the Nettie Lee Benson Latin American Collection. Librarians at the Fine Arts Library identified zines as a strategic acquisition area in 2012 because of their crossover appeal in fine arts and communications study. This effort aligned with the existing materials from the Latin American and poetry collections, but librarians collected  those earlier zines as a matter of course rather than as a deliberate strategy. Zines are attractive as a collection development prospect – they are a generally a low-cost resource, often produced in limited runs and they exist in a variety of forms. And due to their low barrier to entry and DIY ethos, they have currency with a global audience of creators.

“Although many of the students we teach are unfamiliar with zines at first, they immediately gravitate towards this medium because of the collection’s creative and original content,” says Tina Tran, Liaison Librarian for Visual Arts. “With their daily lives becoming increasingly digital, these students find it refreshing to explore accessible, physical media that’s uninfluenced by algorithms and ads.”

Over the past few years, interest in the zine format has surged on campus. The Libraries’ zine holdings have inspired 46 workshops (and counting) during a relatively short amount of time, spanning 14 distinct course types across three colleges. The format’s accessibility, activism roots and personal voice make it a compelling vehicle for students to explore ideas and identities.

The workshops helped to introduce students to the history and practice of zine-making, rooted in movements for social change and self-empowerment, while also emphasizing their value as primary source materials for research. Sessions are tailored to individual courses and typically include an overview of zine culture, a hands-on tour of the collection and a collage-based creative activity that encourages students to engage directly with the medium.

These workshops not only teach students how to make zines but also how to analyze them – connecting artistic practice with academic rigor. Faculty have incorporated zines and zine-making as an alternative to traditional written assignments, encouraging group projects that blend scholarship and creativity. Use of the collection has increased in recent years, with roughly a quarter of all 800 cataloged zines being used in 2022 and 2024. Additionally, eight students have curated exhibits featuring zines since 2014, illustrating how the exposure to the collection is fueling independent scholarship.

“Professors are incorporating zines in the classroom, often as a creative assignment and alternative to the traditional research paper,” says Humanities Liaison Librarian Gina Baston. “Zines are a flexible medium – students can include writing with their own drawings or collaged images made from old magazines, and they are great for group projects, too.”

The Libraries’ zine collection features hundreds of titles covering topics as varied as individual identity, mental health, music, art, environmental justice and cultural heritage. Each zine provides a unique snapshot of lived experience, community knowledge or political activism – making the collection an invaluable resource for both creators and researchers.

The zine initiative also underscores the Libraries’ commitment to practical learning and research, creating a welcoming entry point into library spaces and collections. For many students, it’s their first introduction to archives, primary research or self-publishing – an experience that often sparks new creative or academic pursuits.

“While some students embrace the creative possibilities that come with zine-making, others are intimated. Many have never heard of zines, or they don’t consider themselves artistically talented,” says Bastone.

“It’s a remarkable moment to see a reluctant student find their creative spark after looking through our zine collection.”

The medium’s historic roots in empowerment and self-expression remain potent today.


Learn more about the Libraries’ Zine Collections at the LibGuide: https://guides.lib.utexas.edu/zines

Read, Hot and Digitized: The Clothes We Wear and the Stories Behind Them

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.


We Wear Culture was started in 2017 as a global initiative that brings together the stories of fashion evolution in one place. This digital project is a global initiative that brings thousands of stories together, delving into apparel that we wear now and how it relates to costume history, culture, and trends. It was produced by Google Arts & Culture in collaboration with existing digital and physical collections worldwide. “We Wear Culture” partners with more than 180 museums and similar institutions including prestigious names like The Kyoto Costume Institute and The MET. The research ranges from iconic pieces that have grown to wardrobe staples, such as Coco Chanel’s little black dress, or broad fashion movements, like the evolution of shoemaking as a craft.

A map depicting the locations of global collections in collaboration with “We Wear Culture”.

The digitized research contents of “We Wear Culture” are separated into four different themes:

  • The icons – The famous faces and designers that changed the way we dress
  • The movements – From the court at Versailles to the streets of Tokyo
  • The making of – The craft and stories behind what you wear
  • The arts (my personal favorite) – Fashion’s long-term relationship with the arts

The platform allows me to explore curated themes through a vibrant interface. Each theme acts as a gateway to a variety of resources—articles, videos, digital exhibits, and archival images—organized into subcategories that encourage engagement. The layout is designed to foster curiosity, with visuals and clear text that make navigation easy and discovery accessible.

For example, within the Fashion + Arts theme, the story “Journeys into Textile and Identity” offers a compelling look at South African contemporary artists (example demonstrated in the image above) who conceptualize works that marry their heritage with fashion materials. Their work draws on South African textiles and techniques, reinterpreting them in ways that portray a visual historical narrative, drawing on personal and collective experiences of the present and past.

At the very bottom of the main homepage is a section that has pre-made lesson plans, targeted towards teachers and parents of future fashionistas who may want to learn more information about the fashion industry, its history, and related heritage. These plans serve as open education resources and each individual lesson encourages students to immerse themselves in the subject and view design from different perspectives.

Whether you’re browsing for inspiration or conducting focused research, “We Wear Culture” makes it effortless to connect with stories that span creative visual disciplines, geographies, and generations.

Want to learn more about fashion in relation to art history or global studies? Check out these resources from the UT Libraries:


Bellet, A. (2024). New approaches to decolonizing fashion history and period styles : Re-fashioning pedagogies. (1st Ed.). Routledge.

Geczy, A. & Karaminas, V. (2021). Fashion and art. (1st Ed.). Berg.

Hill, C. (2021). Reinvention & restlessness : fashion in the nineties. Rizzoli Electa

Steele, V. (2023). Shoes A-Z : The collection of the museum at FIT. Taschen.

Way, E. (2024). Africa’s fashion diaspora. Yale University Press.

Read, Hot and Digitized: Forms & Function – The Splendors of Global Book Making

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.


On September 10, Princeton University Library unveiled a new digital and physical exhibition, titled “Forms and Function: The Splendors of Global Book Making.” The exhibition is a feast to anyone interested in book history, and especially those who want to learn about how the formats of a “book” varied through time and space. It is also a rare opportunity for the public to view some of the least known hidden gems in Princeton’s collections.

The exhibition includes manuscripts and printed books from Western, Islamic, East, South and Southeast Asian, and Mesoamerican cultures. There are seventy-four items on digital display, and they represent many materials for book making that may not be familiar to a contemporary and Western audience, including bark, textiles, shell, lacquer, and copper. The earliest produced book on display is an Egyptian clay cylinder from the 6th century BCE, while the latest is an Indian artistic book made with copper plates from 2020.

Three “traditions” of book formats are featured in the exhibition: the codex tradition, the East Asian tradition, and the pothī tradition.

The codices, defined in the exhibition as “single- or multi-gatherings of sheets folded inside each other, with texts on both sides, sewn together, and usually attached onto covers,” gradually replaced scrolls, and became the preferred format for early Christianity but later spread to Central and South Asia and was also adopted by Islamic and Hindu traditions. The exhibit includes an extremely rare early Coptic manuscript of Gospel of St. Matthew, and a palimpsest parchment on which the text was once erased to allow reuse.

Figure 1: Georgian palimpsest

Also included is a Chinese edition of  Missale Romanvm  produced by the Jesuits in 1670 which was printed with woodblock but bound in a European codex format.

The East Asian tradition, which included the Chinese, Japanese, and Korean cultures, demonstrates a wide range of mediums and materials to produce reading materials and extensive influence into other Eurasia regions. Among the bamboo slips and Dunhuang scrolls is an inner garment with over 700 “eight-legged” exemplary exam essays written on it, totaling more than half a million miniature characters.  

Figure 2. Pulinsidun daxue baguwen sichou chenyi

Another rare item on display is a reproduction of ink rubbings that the late-Qing statesman, Duanfang (端方, 1861–1911), made from Egyptian and Greek objects during his diplomatic missions in the early 1900s.  

Figure 3. Aiji wuqiannian guke

The pothī tradition, heavily influenced by the palm leaf, one of the earliest materials in the region used for writing texts, is no less diverse in terms of materials and formats that supported the texts. The exhibition features an earliest example of paper making from Nepal (1140), on which the popular Pañcarakṣā sūtra (Sūtra of the five protectresses) is written.  

Figure 4. Pañcarakșā sutra (Sutra of the five protectresses)

Coming after the palm leaves, later materials, such as birch bark, gold, and paper, mimicked its progenitor’s shape. The loose pages were usually stacked to make a bundle. With Brahmanism and Buddhism, the format spread across South and Southeast Asia and reached the Mongols and Manchus through Tibet.  

Figure 5. Coqbbertv (The emergence and migration of humankind)

Here is an example of a relatively understudied Dongba manuscript from the Naxi people, an ethnic minority living in China’s Yunnan province.

Beyond the main three themes, the exhibition also showcases some formats that different traditions share: single-sheet, scrolls, and accordion style. One of the highlights from this section is one of the earliest printed texts in the world, the Hyakumantō darani  from Nara-era Japan. 

Figure 6. Hyakumantō darani (A dhāraņī from inside a one-million-pagoda)

The work was commissioned by the court in 764. Printed Buddhist spells were inserted into mini pagodas. These short texts, also known as “mantras,” are verbal formulas and chants for various spiritual purposes. Currently, “tens of thousands of the pagodas and several thousand printed spells still exist.”

Last but not least, the exhibit shines light on even more materials that were used to serve as the media for texts. The hard surfaces of stone, metal, and bones were widely used across the globe. For example, a conch shell with Maya glyphs is on display in this section.

Figure 7. 1 Ajaw 3 Chakat (17 March, 761 CE)

The exhibition was curated by Dr. Martin Heijidra, Director of the East Asian Library at Princeton. The online version includes an interactive timeline and map, where viewers can click on the numbered titles of the items to go to their catalogue records, which has a brief but detailed description of the item and additional readings about the research on each of the items

Figure 8. A section of the interactive map

Online viewers can also download the PDF files of the accompanied catalogue and exhibition brochure. The digital exhibition not only provides an alternative for those who cannot see it in person, but it also gives it another form of life that will extend after the exhibition hall welcomes another array of objects.


Reference:

Martin Heijidra, curator (2025), Forms & Function: The Splendors of Global Book Making https://dpul.princeton.edu/global-book-forms

Tian, Tian. “Duanfang’s Egyptian Rubbings: The First Egyptian Collection in Late Imperial China.” Antiquity 99, no. 406 (2025): 1129–42. https://doi.org/10.15184/aqy.2025.10098.

Galambos, Imre. “The Chinese Pothi: A Missing Link in the History of the Chinese Book.” The Medieval History Journal 27, no. 1 (2024): 152–72. https://doi.org/10.1177/09719458241231669.

McDermott, Joseph Peter. A Social History of the Chinese Book: Books and Literati Culture in Late Imperial China. Hong Kong University Press, 2006.

Kornicki, Peter F. The Book in Japan: A Cultural History from the Beginnings to the Nineteenth Century. Brill, 1998.

Roper, Geoffrey. The History of the Book in the Middle East. Ashgate, 2013.

Down and Out in Lisbon and London: Antiquarian Books and Digital Humanities in Europe

Thanks to the generous support of the Center for European Studies and the UT Libraries, I was recently able to travel to London, England and Lisbon, Portugal.  On my trip, I had the chance to attend a scholarly conference, acquire unique materials to add to UTL’s collections, network with academics, vendors, and librarians, and purchase books for the UT Libraries’ collections.

A street in London lined with bookstores containing antiquarian and rare books.
A street in London lined with bookstores containing antiquarian and rare books.

My time in London was an invaluable opportunity to build stronger connections with an international cohort of colleagues. For example, I met with one of the UT Libraries’ vendors who I work with to procure rare materials on early twentieth century European politics. The vendor I met with, Carl Slienger, frequently supplies us with items not held by any other North American libraries, making the materials he sources very important for our distinctive holdings of pamphlets and other propagandistic literature, as well as antiquarian books that enhance our holdings of rare and unique European occult and spiritualist materials. I also met with a colleague at the British Library to discuss coding workflows and best practices for working with digital materials. Meeting with my colleague at the British Library was likewise very beneficial, as much of my work involving digital methodologies is focused on programming in Python and other languages, and I am currently supervising a project focused on using Python to automate digital archival workflows.

Ian standing outside of the British Library.
Ian outside of the British Library.

In Lisbon, I attended and presented at the The Alliance of Digital Humanities Organizations (ADHO) Digital Humanities 2025 conference.  My poster presentation focused on software packages I have written  in the Rust programming language to support multilingual computational approaches to linguistics and digital humanities. My poster highlighted three software packages: a package for performing lemmatization, a key natural language processing task, on text; a package for assessing the readability of a text containing a variety of algorithms to choose from; and a package to perform stylometric analysis on text. They were all built with multilingual support in mind, and as such are specifically designed to move outside of an Anglocentric paradigm often found in technologies for natural language processing and textual analysis, creating new opportunities for multilingual and non-English textual analysis and digital humanities. Beyond my own presentation, I was able to  attend talks on other digital research methodologies throughout the conference. Being able to attend talks by colleagues from all around the globe was both invigorating and rewarding, and an invaluable way to stay on top of the current research being done in the digital humanities. I also took the opportunity to acquire a small amount of zines while in Lisbon, adding to our collection of unique materials that we would not be able to purchase without undergoing a foreign acquisitions trip.

The poster session area at the DH 2025 conference in Lisbon.
The poster session area at the DH 2025 conference in Lisbon.

This trip allowed me the opportunity to represent UT Austin internationally to a diverse group of colleagues, and I’m grateful that I was able to serve the Libraries in such a capacity. I look forward to building on our distinctive holdings and further expanding UT’s collections while continuing to work on using digital methodologies to enhance accessibility for research and open source software.

Read, Hot and Digitized – A Nobleman’s Life, Digitized: The Jiam Diary Project

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.

This post was written by Sojeong Ryoo, the Global Studies Digital Projects GRA at Perry-Castañeda Library and a current graduate student at the School of Information.


Sometimes, an ordinary personal diary can be an extraordinary historical resource that provides a glimpse into the times. The Jiam Diary Digital Humanities Project, led by Professor JiYoung Jung at Ewha Womans University, is based on the nearly eight years (95 months) of journals kept by Yun Yi-hu (pen name: Jiam), a yangban (nobleman) of the Joseon dynasty in the late 17th century.

Between 1692 and 1699, Yun Yi-hu — a retired nobleman in the Honam region — kept a meticulous diary of his daily life. Known as Jiam Ilgi, the three-volume, 920-page record captures everything from farming, fishing, and travel to visits with friends, political events, and even the activities of household slaves. It offers a vivid portrait of both personal routines and the broader social world of 17th-century Korea.

The Jiam Diary Digital Humanities Project transforms this rich historical source into searchable, visualized data. More than 80,000 pieces of semantic information have been extracted and organized into interactive maps, timelines, and relationship networks, enabling users to explore the people, places, events, and lifestyles mentioned in the diary. This digital approach opens a new window into the everyday life of a Joseon noble.

On the site, you can explore data visualizations in five themes: Lifestyle, Person, Place, Event, and Slave.

Lifestyle visualization is designed to help users explore lifestyle-related data. The eight-year calendar is arranged vertically by year and horizontally by month, with original and translated diary entries for each day appearing in the blank space on the right. Clicking the small square menu box in the upper left allows you to choose from over 80 lifestyle categories and view related records. Examples of lifestyle categories include: family, returning home, visiting, slaves, bathing, private punishment, guests, lodging, prison, transactions, architecture, capital affairs, civil service examinations, weather, farming, theft, literature, unusual events, funerals, hunting, fishing, arts, entertainment, medicine, disease, and slave hunting.

Person visualization highlights people mentioned in the diary. Yun Yi-hu’s family, kinship ties, and political connections are shown as an interactive network. Clicking a person icon allows you to filter and view the diary text for the date the person was mentioned.

Place visualization displays a map of Korea, marking locations mentioned in the diary. Places can be categorized by type — administrative districts, buildings, roads, mountains, fields, rivers, and islands — and filtered using the menu on the bottom left. Clicking on a place reveals diary entries linked to that location. For example, selecting Seoul — the capital of the Joseon dynasty — returns an impressive 455 entries. Clicking on a diary date on the right reveals the original and translated text of the diary entries that mention “Seoul.”

Event visualization organizes events from the diary along a timeline, making it easy to see which major events Yun Yi-hu experienced and how long they lasted. Clicking on an event box shows the relevant diary entry, with entries displayed chronologically below.

Slave visualization examines the nobi (slave). The slave system existed during the Joseon dynasty. As a nobleman, Yun Yi-hu owned many household slaves. The visualization links each slave in the center to the lifestyle activities associated with them, displayed around the outside. This allows us to examine the roles played by specific slaves in Yun Yi-hu’s life.

Looking into the records of Yun Yi-hu, a man who lived centuries ago, we see him interacting with family and friends, traveling, rejoicing, and grieving — experiences not so different from our own lives today. The Jiam Diary Digital Humanities Project brings this rich life to light through diverse visualizations of his diary, offering deep insight and inspiration.


To learn more about the Joseon dynasty or Korea in general, check out these resources in the UT Libraries’ collections:

Duncan, J. B. (2014). The Yangban in the Change of Dynasties. In The Origins of the Choson Dynasty (pp. 99–153). University of Washington Press.

Park, S. N. (2020). The Korean vernacular story : telling tales of contemporary Chosŏn in sinographic writing / Si Nae Park. Columbia University Press.

LEE Uk(이욱). (2007). The Yangban’s Perception of the Ideal Economic Life During the Mid-Chosŏn Era. International Journal of Korean History, 11, 117–150.

Kang, M. (2010). Chosŏn p’ungsoksa / Kang Myŏng-gwan. (Ch’op’an.). P’urŭn Yŏksa.

Read, Hot and Digitized: AI for OCR & Translation

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.


The foundation of digital humanities is data.  Lots of it.

As the early phases of AI have shown us, there is a staggering amount of textual data available to manipulate and compute–both openly available and that which exists behind paywalls.  All too often the depth and accessibility of digital scholarly textual data in non-English and non-Roman scripts is lacking.  Rather than be left behind or constrained by these lacuna, individual scholars are working to generate their own digital research corpora, often building upon AI tools.

Recently I was introduced to the MITRA project and have been nothing short of amazed.

A research project from the University of California-Berkeley’s AI Research Lab, MITRA “focuses on bridging the linguistic divide between ancient wisdom source languages and contemporary languages through the application of advanced Deep Learning and AI technologies.”  Using Gemini APIs, MITRA builds upon an extensive digitized text corpus and contributions from translators and researchers alike to “harness AI technologies to promote the scholarly study and personal practice of the dharma and to accelerate academic and individual research through open-source collaboration on datasets, models and applications.”  In so doing, MITRA aims to “overcome the challenges inherent in low-resource language translation,” to “minimize language barriers,” and to create “more equitable access to literature and wisdom.” 

I have engaged with OCR and digital text conversion for years but have always found it to be a labor intensive and ultimately less-than-satisfying [or accurate] experience, especially for non-roman languages and scripts.  Of Interest to me, therefore, is how MITRA has harnessed AI to allow one to drag-and-drop PDF files into the tool at which point it can both detect the language (Sanskrit & other Devanagari-based languages, Tibetan, scriptural Chinese or English) and use OCR to produce a relatively accurate text file.  That unto itself is pretty amazing.  From there, however, one can quickly transliterate, translate and/or explain the text into Sanskrit, Buddhist & Modern Chinese, Russian, Korean, Japanese, German, French, Italian, Hindi or Spanish. 

To test it out, I grabbed a small amount of openly accessible text from HathiTrust.  I chose an early Hindi novel, namely Rāmalāla Varmmā’s Banārasī Dupaṭṭā Yā Gularū Zarīnā from 1916 which is readily available in PDF form on HathiTrust.  I grabbed the first page of the novel which looks like this:

Page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā from HathiTrust

I then put a PDF of that page into MITRA to see if it could OCR the text.  Despite some blurriness of the original source text, it most certainly could OCR it (even if not 100% accurate):

MITRA’s OCR of page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā

Encouraged, I then asked MITRA to both transliterate (take the text written in Devanagari script and convert to roman script) and to translate the text which it also did quite quickly and easily:

Ever more optimistic, I then clicked on “English explained” and MITRA was also quite adept at parsing the translated text, the original script of the text, and the grammar and vocabulary. 

MITRA’s “English Explained” of page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā

I repeat, I stand amazed.

While MITRA has clearly captured my attention and my appreciation, I will note that there are other similar projects currently available and equally commendable, from Andrew Ollett’s Indological and OCR tools [and fabulous related explanations] to Tyler Neill’s toolkit, Skrutable

Likewise, the UT Libraries is here to help explore the production of your own digital content for research.  The Scan Tech Studio in the PCL Scholars Lab has the hardware and software you might need to convert print into digital texts, as well as a group of specialists to help you.  We have online guides to introduce the practices and concepts of OCR as well as recordings from OCR workshops

I encourage anyone interested in exploring non-English or non-roman digital texts to jump in, kick the tires, and have some fun with these impressive conversion projects. 

“Visiting Days”: An Archive of Family Care at São Paulo’s Largest Women’s Prison

An archive acquired through the LLILAS Benson Archiving Black América–Black Diaspora Archive initiative documents scenes from prison visiting days

Brazil is among the top incarcerators of women worldwide, with Black women accounting for 65 percent of this population. The largest women’s prison in the country is the Penitenciaria Feminina Santana (Santana Women’s Penitentiary) in São Paulo. Every weekend, families of incarcerated women arrive to visit their loved ones on the inside. On Avenida Ataliba Leonel, the busy thoroughfare just outside the prison, two tents, or barracas, serve as informal storage sites where visitors pay to store their belongings prior to lining up to enter the prison. The tents also offer food for purchase.

A group of several dozen people cluster around the entrance gates of the large women's penitentiary in São Paulo, Brazil. One woman sits at the curb, a small child by her side. Many of the people have white plastic bags on the ground near them. The prison entrance is a pale yellow archway, trimmed in medium grayish blue, with a gate if the same blue, the name of the prison written above. In the foreground there is the surface of the street with many lines painted for crosswalks.
Facade of the largest women’s prison complex in Latin America, the Santana Women’s Penitentiary. Photo: Flávia Biazeto. Black Diaspora Archive.

In the archive Dias de Visita/Visiting Days: Strategies for Connections, Affections and Black Encounters in Latin America’s Largest Women’s Penitentiary, LLILAS PhD student Ana Luiza Biazeto has assembled images and oral histories from her visits to the barracas, where she interviewed family members of incarcerated women, as well as some of the people who set up and run the tents. Biazeto became familiar with the prison and the visiting area during research for her master’s thesis, which was about Black incarcerated women in the prison.

A large blue tarp creates a tent with an open front. People can be seen standing or sitting under the tarp—one with an umbrella, one bent over holding a white plastic bag. Various bags and at least one suitcase are visible. On the rainy street in the foreground, a man rides by on a bicycle.
Loira’s tent welcomes visitors on a rainy day. Photo: Flávia Biazeto. Black Diaspora Archive.

While many incarcerated women are completely separated from the lives of their families and loved ones during their imprisonment, others are visited by family on a regular basis. During her first year as a PhD student, in a 2022 seminar on urban Brazil, Professor Lorraine Leu asked Biazeto some pointed questions about the women she had interviewed in the prison: How were their children doing? Who were their families? Leu’s questions inspired Biazeto to think more deeply about the dias de visita and what she could learn in this setting. She applied for, and received, an Archiving Black América–Black Diaspora Archive (ABA–BDA) archival acquisition award, which afforded her an opportunity to better understand the dynamic of the families.

Two small boys, both with shorn heads, face away from the camera. They are standing on a paved median facing a two-lane road. In the background, pale yellow three-story building can be seen. The sky above it is gray. The boys stand with their shoulders touching. They wear flipflop sandals, matching voluminous sweatpants that are light blue with a wide navy blue band across the knee, and long-sleeved sweatshirts.
Brothers, taken by their grandmother, wait to visit their mother in the Santana Women’s Penitentiary. Photo: Ana Luiza Biazeto. Black Diaspora Archive.

“I learned of things that I never would have imagined,” said Biazeto in an interview during spring 2025. “I was in connection with many mothers, many grandmothers, who visit women. There were many children, running around there on the avenue. And as I interviewed, I cried along with the women. The children came and showed me the drawings they were making, many the age of [my youngest child]. And just as my master’s thesis involved a painful process, it is also a painful thing to confront these realities.”

Barraca da Loira and Barraca da Adriana, named for the women who run them, are part of the informal economy and are protected by the Primeira Comanda da Capital, or PCC, an organized crime unit in São Paulo that is sometimes called upon by the state to act. Biazeto says the PCC might be on hand to make sure people line up in an orderly manner to visit the prison.

A group of white plastic bags sit on a dirty orange tarp. Each one is tied with a knot at the top. On some, a small yellow square of paper with a handwritten number is visible attached with a metallic hook. Some belongings, such as a dark plaid umbrella, can be seen peeking out of the bags.
Visitors’ items are put in plastic bags and locked with a password in Adriana’s tent. Photo: Flávia Biazeto. Black Diaspora Archive.

During her fieldwork, Biazeto conducted interviews with Adriana, who runs one tent, and with Karina, the daughter of “a Loira” (“Blondie”), who runs the other. Additionally, Adriana and her son, Paulo, recommended visiting family members for Biazeto to interview.

“They knew the people, they heard their stories, they sold them coffee, they welcomed the people,” Biazeto said.

Closed containers of cake and several individually wrapped sandwiches made with white bread sit on a wooden table. Two cake containers are stacked one atop the other, while a knife sits atop a single container.
The cake and snacks sold at Barraca da Loira. Photo: Flávia Biazeto. Black Diaspora Archive.

In the excerpt below, Biazeto discussed her fieldwork in more depth. The following conversation is translated from the Portuguese and condensed.

Q: What were some of the things that surprised you?

Biazeto: I saw a mother putting on makeup to show her daughter that she was ok. Because she said that her role was to maintain her daughter’s well-being inside the prison. She said, “I cry here with you, but I go in there with a smile for her to have hope, that I’m waiting for her out here, and that everything is all right.” So she puts on makeup, she applies eye shadow, puts on lipstick, fixes her hair.

In a grainy photo, a woman applies red lipstick to her mouth. She holds a mirror and the silver top of the lipstick tube in one hand, while applying the color to her open mouth in the other. She is wearing a leopard-print jacket.
A mother applies lipstick before visiting her daughter in the women’s penitentiary. Photo: Flávia Biazeto. Black Diaspora Archive.

I also saw—although the statistics say the opposite—I saw many men going to visit their women. Taking their kids. So this happens in a way that research doesn’t show. These men are also invisibilized. Principally Black men, because when we talk about the Brazilian prison system, we’re principally talking about race. I saw a grandfather bringing a grandson to see his daughter. I saw a father bringing a little girl in a stroller, giving her a bottle. Cooking for the women. Breaking those gender barriers somewhat.

Professor Christen Smith commented [on my research], “You are bringing in new viewpoints [novos olhares].” Because it’s the man who works the dawn hours as garbage collector, street sweeper; comes back home, cooks, takes his daughter, and goes to the gate of the penitentiary. So those were the things that surprised me.

A slender man in loose gray sweatshirt and sweatpants stands with his back to the camera. He is facing a crowded line across the street from the entrance gate to the women's prison. He holds a small child against the left side of his chest. The child is wearing gray sweats, a blue-and-white hat with ear covers and a pompom on top, and bright red sneakers. The man has short black hair and a cigarette tucked behind his right ear.
Father takes his child to see mother, sentenced and imprisoned in PFS. Photo: Flávia Biazeto. Black Diaspora Archive.

Also, mothers who brought food not just for their own daughters, but for the cellmates, and the block-mates, because they didn’t have visitors. A mother said, “My daughter shares the food I bring, even if it’s a spoonful for each person.”

Q: What are these women serving time for?

Biazeto: In general, it is drug trafficking. Sometimes it’s a family business; sometimes inherited from the mother, or along with a male partner. Generally it is the user who is criminalized, not the dealer.

Q: What more would you like to share about your work?

Biazeto: [I’ve been encouraged by Lorraine Leu to think about the (im)possibilities of Black futures in the context of the prison.] To see the children running around there, in the middle of a busy avenue, is to think about Black resistance. Right there, you witness the formation of a community that supports and sustains its members somehow, whether it’s sharing information on legal issues, or the workings of the prison system. Many times, this information comes from outside, from family members exchanging information between themselves. I could see a solidarity among those family members. I think that this archive keeps alive the memory of people who are resisting the Brazilian police state. It is a new way of resisting.

A small dark blue tent, open on two sides and held up by metal poles, reads "Barraca da Loira" in bright yellow letters (Loira's Tent). Inside the tent, there is a small metal table with a few full plastic bags, one or two large Thermos bottles, and two round plastic containers containing cake. Suspended from a makeshift clothing line outside strung from a larger pole is a rope with a few articles of clothing hung from it, among them a hot-pint long-sleeved sweatshirt. Several people stand facing the tent with their backs to the camera. In the foreground, a small amount of the street is visible, including an orange traffic cone.
Barraca da Loira sells flip-flops, soft drinks, coffee, cake, and underwear. They also rent out clothes and serve as a locker. Photo: Flávia Biazeto. Black Diaspora Archive.

Ana Luiza Biazeto will spend the 2025–2026 academic year in Brazil to continue her dissertation research on resistance and resilience among Black women and their families in the Brazilian carceral system.

The contents of the Visiting Days archive can be reviewed via Texas Archival Resources Online (TARO). The Black Diaspora Archive is an initiative of Black Studies, LLILAS Benson Latin American Studies and Collections, and the Office of the President. The archive is housed at the Nettie Lee Benson Latin American Collection.

Read, Hot and Digitized: Country of Words | بلد من كلام

One of the more complex questions we encounter in area studies is how we define a nation. Is it lines on a political map? A shared territory? For Palestinians, traditional maps can often feel inadequate, showing borders and divisions but failing to capture the full, lived reality of a people. The remarkable digital-born project, Country of Words | بلد من كلام : A Transnational Atlas for Palestinian Literature, by Refqa Abu-Remaileh (Freie Universität Berlin) rethinks the very idea of a map. Instead of depicting political boundaries, it offers a form of literary cartography.

Screenshot of literature under British occupation essay title
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Screenshot of Literary Diasporas essay title
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At its heart, Country of Words is an interactive, web-based atlas that visualizes the vast geography of Palestinian literature. When you visit the site, you are met with a world map dotted with points and featuring an accompanying timeline. Each dot represents a location—Gaza, Jerusalem, Beirut, but also Paris, Santiago, and Iowa City—that appears in a work of Palestinian fiction or poetry. Clicking on a dot reveals an excerpt from the literary work set in that place, presented in both its original Arabic and in English translation.

The accompanying timeline summarizes essential events in Palestinian history and allows you to read essays on how these historical moments influenced and were shaped by key works of Palestinian literature. Additionally, you can look at an overall network visualization; a variety of visualizations of biographies, historical events, publishing histories, and publishing networks; and audio interviews with key current and recent Palestinian literary figures.

The project is the work of Prof. Dr. Refqa Abu-Remaileh and her team at Freie Universität Berlin. It grew not from a desire to create a simple database, but rather from a potent intellectual argument. The project contends that for a people so often defined by exile and displacement, literature itself has created a “country”—a homeland of memory, imagination, and shared experience that transcends physical borders. This atlas makes that homeland visible.

As a librarian, I see this as a powerful tool for teaching and research. It allows students to literally see the global reach of the Palestinian experience. For scholars, it is a dynamic data visualization that can spark new questions about place, identity, and literary networks. It is a beautiful, poignant, and profoundly human entry point into a rich literary tradition. It invites you to wander through this country of words and discover the stories that connect a people, wherever they may be.

To dive deeper into the literary world mapped by the project, here are a few key works from the UT Libraries’ collections that speak to the themes of place, exile, and memory:

  • غسان الكنفاني، الأثار الكاملة. The complete collection of a foundational writer of modern Palestinian literature, Ghassan Kanafani. Included is his novella, Men in the Sun, about Palestinian men seeking to cross a border in a water tanker. It is a searing allegory of the search for life and dignity in the face of statelessness.
  • After the Last Sky: Palestinian Lives by Edward Said. A landmark book of essays and reflections paired with photographs by Jean Mohr. Said, a major figure in postcolonial studies, meditates on the nature of Palestinian identity in exile.
  • Enter Ghost by Isabella Hammad. Isabella Hammad’s second novel centers on Sonia, an actress who journeys back to Palestine and joins a production of Hamlet in the West Bank. Enter Ghost offers a vivid portrait of contemporary Palestine and explores themes of exile, belonging, and the deep bonds formed through family and collective struggle.

CONTINUED DIVES INTO PULP FICTION

“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.


As a part of my Fulbright-Nehru Fellowship, I was back in Delhi in early 2025, continuing research on “hidden archives,” namely the unpublished materials found in institutional settings (places like the Prime Minister’s Museum and Archive at Teen Murti or the National Archives of India) as well as private papers still kept in family homes.  My fellowship allowed me to expand and nuance the work I regularly support here at UT such as the digital archiving projects related to 20th century politico-literary figures but also to delve a little deeper into UT Libraries’ growing distinctive collection related to South Asian popular and pulp fiction. 

In research, like in crime thrillers, you never know where seemingly random clues might lead.

Cover of 65 Lakh Heist.

Early into my stay in Delhi, a colleague from the Fulbright office called me up to invite me to join him in attending a literary “salon” where I could meet some new people.  The event was to welcome a visiting Greek poet, translator, and editor wherein she would read and discuss her poetry at the home of a prominent Indian literary editor.  Poetry? Editors?  “Salon”?  I was in.

In addition to the lovely verse and food which both flowed freely throughout the evening, I was delighted to make multiple new acquaintances at the gathering.  As we went around the room introducing ourselves—one person an activist, one a publisher, another a poet, and so on–one person identified himself as a translator at which point his jovial colleague interrupted him to reveal that he was also an author of pulp fiction.  As I’ve been building UT’s pulp fiction collection for over 10 years now, my ears perked up and I set my sites on meeting this translator/author as soon as the group dispersed for more casual one-on-one conversation. 

The author was lovely and humble about his own work and kindly asked me about which authors were included in UT’s pulp fiction collection.  I started listing off the names—Ibne Safi, Ved Prakash Kamboj, Om Prakash Sarma, Anil Mohan—but when I got to Surender Mohan Pathak he casually asked, “oh, SMP?  You want to meet him? My partner has helped edit and publish his work.”  I tried not to reveal my excitement.  Surender Mohan Pathak, with over 300 published novels to his credit, is one of the biggest, if not actually the biggest, authors of Hindi pulp crime thrillers.  Yes! Yes, yes!  I would in fact like to meet him.

With arrangements made through the generosity of new colleagues, a couple of weeks, multiple WhatsApp chats, and SMS texts later, I was greeted at the elevator gates to his Noida apartment by none other than Surender Mohan Pathak himself. 

SMP with the author in his home office.

Over the course of the next hour or two, as I sat starstruck and in rapt attention in SMP’s home office, surrounded by a lifetime of memorabilia and shelves and shelves of his publications. SMP graciously answered all my questions, generously telling me about his pathway to becoming a writer, the challenges he has faced in getting published, and his expectations about his legacy.  The highlights from this chance meeting, “Surender Mohan Pathak in His Own Words” are now available in the UT Libraries Digital Exhibits.  It was nothing short of an honor to have been able to meet such a legend and I remain tremendously grateful to the kindhearted help of my new network of fellow fans.

Fans and rasikars of pulp fiction don’t just reside in India, however.  A new faculty member to UT recently shared his admiration for the genre and our collection thusly,

SMP memorabilia in his home office.

[The collections] allowed me to reconnect with my own culture, which I could not even do in India. Given that English was the primary medium of instruction in the schools I attended, I ended up reading Rushdie before Premchand… [in the South Asia collections such as and including UT’s]… some of my most memorable moments have involved getting lost among the library stacks, and then suddenly stumbling upon a rare classic in [non-English Indian languages]… My intellectual life is much richer than it would have been otherwise. As I often mention to my friends, it is a different experience because “a different part of my brain lights up”, when I’m reading a [vernacular] novel, despite the fact that English was the first language that I learnt to read.

I invite everyone to explore the South Asia Popular and Pulp Fiction Collection, in a language of your choosing—Hindi, Urdu, Tamil, Malayalam, Bengali, Telugu, English–and consider what these mysteries, romances, and thrillers can teach us about research as well as about ourselves.