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DepositA Digital Studio for the Optical and Chemical Analysis Of Manuscripts and Printed Books

We propose the creation of a digital studio for the optical and chemical analysis of manuscripts and printed books. In this Level II start-up project, we will capture images of a 1472 guide for priests written in Latin by a Florentine archbishop and printed in Strasbourg using moveable type. We will image selected pages from this book at specific frequencies in the ultraviolet-visible-near-infrared spectrum. We will also conduct spot-level densitometry and Raman spectroscopy on elements in this book. The resulting data from these images will then allow us to create a digital studio that will include interactive tutorials and demonstrations explaining the principles of optical and chemical analysis to students, scholars, and life-long learners in the humanities. This digital studio will also allow users to browse and compare the images and spectroscopic data to form their own understanding of the book’s production process and reception history.

DepositTransatlantic Sensationalism and the First Printing of Rubén Darío’s ‘A Roosevelt’.

Nicaraguan poet Rubén Darío once posed the following question concerning the effects of U.S. domination of Cuba 15 years following the Spanish American War: “¿Qué espectáculo ofrece hoy día ese pueblo al espectador imparcial? El de una colonia disimulada donde a las aspiraciones de veinte años de lucha ha sucedido un oscuro servilismo al oro yanqui” (“Refutación” 111). Darío suggests that readers visually perceive the situation, that they trust “impartial spectators” in order to truly comprehend the U.S. domination in the region. Spectacles are events based on the optics of the consuming observers; viewers who, at their own leisure, decipher visual productions and performances. Unsurprisingly, Darío himself is the informed spectator and enlightens readers to the colonialist and financial burdens imposed on Cuba. The poet continually implemented this didactic maneuver to uncover the “spectacles” of U.S. domination following el desastre of 1898. The spectacle of the “lucha” of U.S.-Latin American relations, as construed by Darío, is no more evident than in the first printing of his seminal poem “A Roosevelt” in Madrid magazine Helios in 1904.