tag:blogger.com,1999:blog-91982660915279693562024-03-16T01:09:54.075+00:00Inspiring MindsA blog from the Library at the University of YorkStephanie Jesperhttp://www.blogger.com/profile/11368547989969547462noreply@blogger.comBlogger260125tag:blogger.com,1999:blog-9198266091527969356.post-56143785732630111022023-08-25T17:30:00.002+01:002023-08-25T17:30:08.125+01:00Reflections on the Student Curation Project: Let Them Speak - Platforming Transgender Voices<p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><i><span face="Calibri, sans-serif" style="background-color: transparent; color: black; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span>The ‘Let Them Speak: Platforming Transgender Voices’ project is now available on <a href="https://subjectguides.york.ac.uk/your-voice/Let-Them-Speak">the See Yourself on the Shelf webpage</a>. </span></span><span face="Calibri, sans-serif" style="font-size: small; white-space-collapse: preserve;">Its accompanying exhibition is located in the University of York’s JB Morrel library, to the right of the entry-way help desk.</span></i></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"><span id="docs-internal-guid-1b10c4da-7fff-eb8c-bbdf-3dcd29b949ee"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="border: none; display: inline-block; height: 338px; overflow: hidden; width: 602px;"><img alt="A group of people holding signs
Description automatically generated" height="338" src="https://lh4.googleusercontent.com/xh_vT_cjp5Zsm1F0Pht6JgZV_amqP5rkgAhS22kGwm48PUJQUahFADKzjxi0m2tA44QmqHdZ6t5vobAmF9qD2uxqpseWKYw4hDQ0nQOfDjgiYd-KDO69DQ1Q6EVe8MGaFPZMlGRKk1EyPT_7hrWm7W8BvuUhYrm6" style="margin-left: 0px; margin-top: 0px;" width="602" /></span></span></span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span id="docs-internal-guid-141cb413-7fff-0624-ade9-543816c8fd8c"></span></div><span id="docs-internal-guid-93a0de29-7fff-0f0d-ea72-cb12fb7b1a5d"><div style="text-align: left;"><span face="Calibri, sans-serif" style="font-size: 12pt; white-space-collapse: preserve;">When I began curating ‘Let Them Speak’, I was cheerfully optimistic that I would be able to source a small selection of books by a few well-known genderqueer authors. Little did I know how incredibly rewarding the ultimate product would be. With a list including over two hundred and sixty works, and eighteen different genres - incorporating a few somewhat unconventional, non-traditional modes of expression (such as zines, stand-up comedy, and dance) – this project surpassed my initial aspirations. Especially gratifying is the tangible, interactive display of trans creativity that now adorns the instillation space in the university library’s atrium. </span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span id="docs-internal-guid-cc24d995-7fff-b531-28dd-f72a0837f288"><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">In my curation introduction I shared my personal motivations for bolstering the authorial presence and representation of transgender people within the media and academia of the University of York library. I expressed a sense of urgency, explaining that this project would be especially impactful amid a contemporary climate of worsening “culture war” and increasing transphobia. The absence of representation, or the existence of negative portrayals punctuated by ridicule and distain, is simply harmful to trans people – discouraging even the most basic forms of positivity, such as self-respect. Consequently, this process has been overwhelmingly affirming, enabling me to the dip into the radical pride and positivity of Rose Syan’s </span><span face="Calibri, sans-serif" style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Our Work is Everywhere</span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">, Leslie Feinberg’s </span><span face="Calibri, sans-serif" style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Transgender Warriors</span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> and Juno Roche’s </span><span face="Calibri, sans-serif" style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Trans Power</span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">, and celebrate the support of a community brimming with artistry, interest, and confidence. I hope that the project shall serve as a source of affirmation and positivity for other members of the university community, too. </span></span></div><div style="text-align: left;"><span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></div><div style="text-align: left;"><span id="docs-internal-guid-87b44f78-7fff-ebb3-5971-7a15ed5e7e83"><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="border: none; display: inline-block; height: 411px; overflow: hidden; width: 602px;"><img alt="A close-up of several books
Description automatically generated" height="411" src="https://lh4.googleusercontent.com/a8bAHCGlEOppKo2q0kmffiiDDpv3U2cYtkDB_a7zCbwu38MvJQg6GmSZxltDdcGeUZr0ZaCJjdTqXwZR9w8s2wvRhQ_-PI2YoqexWnZRAkXotujEXIvq7oWhJjvFWqKk_dCRqx5kkQ6q6X38GcI1VtenFkgwW8NS" style="margin-left: 0px; margin-top: 0px;" width="602" /></span></span></span></div><div style="text-align: left;"><span id="docs-internal-guid-09723261-7fff-0db4-26f6-abad9b1166ed"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">The undertaking of creating my reading list was thoroughly exciting, and a great excuse to peruse exciting new works (such as the current bestseller </span><span face="Calibri, sans-serif" style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Pageboy</span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> by Elliot Page) and reread a few of my old favourites. Due to the relative inaccessibility of publishing and marketing opportunities to transgender authors, I was prepared to undergo thorough research and excavation to discover authors whom I’d never encountered before, beyond the mainstream. However, the wide variety of material that I was able to locate evinces the gradually improving accessibility of authorship for marginalised voices. I enjoyed browsing the websites of specialised LGBTQ+ publishers and booksellers, such as the Gays the Word bookshop, Topside Press, Cipher Press, Pride Publishing, Bold Strokes Books, and many more, to support smaller, independent publishers and locate lesser-known books. With recommendations from other institutions (also making deliberate efforts to diversify their bookshelves), including public libraries, universities, and publishers, I found plenty of interesting recommendations. The most helpful sources of inspiration, however, were trans booktokers, literary vloggers and bloggers - such as Youtubers Arthur Rockwell, Enby Reads, and Books and Bao. Each of their reviews and recommendations were intricately related to their own personal experiences and influenced by a deep affection for the trans community, making for particularly engaging reading experiences.</span></p><div><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div><div><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span id="docs-internal-guid-bf4904ae-7fff-6862-c9d1-1ab091a48cc7"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">One of the most rewarding aspects of the curation process has undoubtedly been investigating intriguing intersectional viewpoints, and exploring how transgender perspectives enrich the endlessly vast array of human experience. By discovering books, films and artworks presented from diverse vantage points, and incorporating them into this project, I have highlighted the fact that trans people are everywhere, in every section of society – augmenting, questioning and enhancing the communities they belong to. For example, Joy Ladin’s </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Soul of the Stranger </span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">details her interwoven experience of Judaism and transness, exploring how the Torah and trans lives may illuminate one another, while Jo Henderson-Merrygold’s thesis </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Gender Diversity in the Ancestral Narratives</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">, explores the variety of gender presented in Genesis, the Christian Old Testament. Jayy Dodd’s poetry in the collection </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The Black Condition Ft. Narcissus</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> speaks to their experience as a blxk trans femme, and the multi-modal anthology </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Sovereign Erotics: A Collection of Two-Spirit Literature</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> (edited by Qwo-Li Driskill, et al) strives to reflect the complexity of identities within native LGBTQ2 communities. Young Joon Kwak’s captivating instillation pieces and performance art explores the queer, racialised and abject body. Vivek Shraya’s music and prose interacts with her South Asian heritage. Seyi Adebanjo’s experimental video projects, especially </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Afromystic E.P: Exploring Gender Fluidity in the Divine</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">, explores queerness in Yorùbá/Òrìṣà (West African) mythologies and traditions, aiming to empower their marginalised community, historically forgotten and overlooked. These wonderful works are just a few of the complex explorations of the porous, multifaceted experiences of gender, transness, and queerness included in the project’s reading list.</span></p><div><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><br /></span></div><div><span style="font-size: 12pt;">The library team has been wonderful in assisting me throughout the curatorship. I have especially appreciated their recommendations, influenced by their own interests. For example, Academic Liaison Librarian Dave Curtis, pointed me towards films restored and preserved by the distribution company Altered Innocence’s branch of queer films, Anus Films. Other library team members taught us a surprisingly complex mix of skills - special thanks go to Mattie Atkinson and Ned Potter who helped with coding on the LibGuides software and social media marketing, respectively. All of the library project members were wonderful throughout, continually helping us brainstorm fun new ideas - but in the end, Antonio was the only one tall enough to be able to blue-tack our posters up!</span></div><div><span style="font-size: 12pt;"><br /></span></div><div><span id="docs-internal-guid-491d9e88-7fff-c980-876f-f22b06372f8b"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="border: none; display: inline-block; height: 401px; overflow: hidden; width: 602px;"><img alt="A table with books on it
Description automatically generated" height="401" src="https://lh4.googleusercontent.com/bTaZx2gofqGTbDCoJQWePcLbCNcL7kpkei0HMlXbBvnKb_40POv37SrBChbSrypBlV1C10R_el5hOaENhpQ1NHdj39mTwJb4pTkGSBfh2uN1z-9PfT3DFAKudlY-rEX7_W05DZCV8WyvvgdmwAzZeuP4CNm6-fb1" style="margin-left: 0px; margin-top: 0px;" width="602" /></span></span></span></div><div><span id="docs-internal-guid-f8475635-7fff-ec6a-7f52-dbfe473c441d"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">There were challenges throughout the curatorial process that aided my appreciation for the work and effort that goes into creating a collection. Throughout the project I have attempted to avoid reducing any author to their transness. All creators are far more than their gender identity - many might even say that their gender is the least interesting thing about them. Their work isn’t assigned merit simply because they are trans. They are thought-provoking books, films, and artworks regardless. Furthermore, this reading list does not advocate for any singular ‘authentic’ existence of transness, or wholly disregard trans representation created by cis-identified people. Any quest for ‘authenticity’ and ‘genuine’ storytelling is problematic. Who am I to decide which story is ‘real’ and which is not? Lived experience undoubtedly informs the narratives we write, and how we read and understand the media that surrounds us. However, it is the imaginative potential of authorship that I seek to celebrate. </span><span style="background-color: white; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">As author Michael Gray Bulla states, trans authorship is crucial as it “gives some autonomy back to the trans community…because trans people have historically been on the margins, we’ve not been allowed to tell our own stories…when we have control over our own representations, we’re able to show our lives as they really are, to dispel some of those misconceptions and stereotypes, and to imagine alternative futures for ourselves that are full of hope, compassion, love, and humanity.” However, this does not mean sensitive and compassionate representation cannot be made by people without specific lived experiences. </span></p><div><span style="background-color: white; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><br /></span></div><div><span style="background-color: white; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span id="docs-internal-guid-9efd3c66-7fff-08a1-188e-cda217e458a4">Throughout this curation I have faced these moral dilemmas and cultural challenges of platforming trans representation - as I anticipated in the ‘Endless Curation’ section of my introductory blog. Ultimately, I aim to emphasise that my reading list aims to be an encouraging introduction, rather than any sort of definitive list - it certainly has gaps (for example, it largely consists of narratives from anglophone, white Western authors). Despite the issues inherent to any sort of canonical list (which admittedly pushes work into the confines of genre, and enforces unavoidable prejudices), my curation aims to be an accessible way to diversify your leisure reading, and introduce you to some great trans authors, artists, and theorists.</span></span></div><div><span style="background-color: white; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span><br /></span></span></div><div><span style="background-color: white; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span id="docs-internal-guid-4946ad92-7fff-2d46-efcf-c11d5b7092ef">This curation project hopes to demystify university workings by bringing the student voice into library collections, championing inclusivity, belonging and community in a way that makes the UOY library and its archives feel more approachable and welcoming. Now that my work on the project is complete, I am excited to witness the impact of my curation. I am hugely grateful for the support of the library team and for this wonderful explorative opportunity. I hope that it will engender greater curiosity, understanding and acceptance within the university community and encourage readers to make a deliberate and continual effort to engage with transgender voices. Thank you for reading!</span></span></div><div><span style="background-color: white; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span><span id="docs-internal-guid-40b383f6-7fff-a0c7-86b6-48ed291265ac" style="caret-color: rgb(0, 0, 0); white-space-collapse: collapse;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt;"></p><div class="separator" style="clear: both; text-align: center;"><span style="border: none; clear: left; display: inline-block; float: left; height: 367px; margin-bottom: 1em; margin-right: 1em; overflow: hidden; width: 602px;"><img alt="A person standing next to a table with books
Description automatically generated" height="367" src="https://lh3.googleusercontent.com/JNvko0_Y1yvRTWnfvqGROk5AC4HtYh_rvx1l5fth9-eWi2WkL9jNLSRflDTnjDWI2qnwalSwsK-RhTXhb1xVrU0oXrViOLsHhIfJSVqgfln_HMz1HinK_PJiY-g2duR6PDhs6JYilmrJ9sxIX0zPfSKnrqoJ9Lsb" style="margin-left: 0px; margin-top: 0px;" width="602" /></span><span id="docs-internal-guid-e3afca07-7fff-c744-fa64-79398dc468f9"><span style="background-color: transparent; font-family: Calibri, sans-serif; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"></span></span></div><br /><br /><p></p></span></span></span></div></span></div></span></span></div></span></div></span><br /></div>Tilly Edney Harrisonhttp://www.blogger.com/profile/09219699142716016782noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-46992561492996117032023-08-25T14:33:00.002+01:002023-08-25T14:33:07.060+01:00Reflections on the Student Curation Project: Unveiling Eastern Europe <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://uploads1.wikiart.org/images/maria-prymachenko/pigeons-1968.jpg!Large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Painting of two pigeons by an Ukrainian artist Maria Prymachenko (Maria Prymachenko, Pigeons (1968), gouache on paper, 60 x 83.7 centimetres.)" border="0" data-original-height="548" data-original-width="750" height="469" src="https://uploads1.wikiart.org/images/maria-prymachenko/pigeons-1968.jpg!Large.jpg" title="Maria Prymachenko, Pigeons (1968), gouache on paper, 60 x 83.7 centimetres." width="640" /></a></div><span id="docs-internal-guid-8e234df7-7fff-6dd1-0c9c-4add44b77c94"><div><span id="docs-internal-guid-533cda8f-7fff-b1e1-f149-bb8b66bf23b6"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span> </span><span> </span><span> </span>Maria Prymachenko, </span><span style="font-family: Arial, sans-serif; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Pigeons</span><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> (1968), gouache on paper, 60 x 83.7 centimetres. </span></span></div><div><span><br /></span></div><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">It's been a few weeks since I began curating the Eastern European library collection, and looking back at it now I'm filled with a sense of accomplishment: the project has evolved from an idea into a tangible endeavour (in the form of physical books and written word) that holds the potential to reshape perceptions, empower communities, and foster a deeper understanding of Eastern Europe's diverse narratives.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">When I first introduced the project, I shared my personal experiences as an Eastern European immigrant in the UK. The lack of representation and understanding I encountered ignited a passion within me to change the narrative. Now, having delved into the curatorial process, I realise that this project is not only about addressing underrepresentation but also about creating a space that embraces the complexities of Eastern European identity.</span></p><div><span><br /></span></div><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">I'm acutely aware of the broader context that shapes the narratives and histories I am seeking to highlight. </span><a href="https://subjectguides.york.ac.uk/your-voice/ukraine" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space-collapse: preserve;">The war in Ukraine</span></a><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">, a deeply complex and tragic conflict that began in 2014, serves as a stark reminder of the enduring challenges faced by Eastern Europe. This conflict has brought to the forefront the fragility of borders in the post-Soviet era and the intricate geopolitical struggles at play in the region. The war's devastating consequences, including significant loss of life and displacement of civilians, underscore the urgency of projects like this collection that aim to promote understanding, empathy, and interconnectedness among diverse communities. I wanted to especially highlight the importance of politics and history of the region, unveiling the reality many of the post-Soviet countries face, while raising awareness of the colonisation of Eastern Europe and Central Asia by Russia. The impact of it is still very much visible today, therefore it’s crucial to point out the importance of de-colonisation of this region and departure from imperialist narratives.. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Unveiling Eastern Europe</span><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> is more than just a collection of materials; it's a testament to the resilience and diversity of Eastern European communities. As I was carefully selecting texts on literature, history, visual art, and politics, I've come to appreciate the richness of my own heritage a little bit more. I was reminded of the brilliant writers, artists and scholars that come from this diverse region. Each piece tells a unique story, contributing to the tapestry of Eastern Europe's history and culture.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">One of the most rewarding aspects of this journey has been the opportunity to amplify marginalised voices within the Eastern European diaspora. The project serves as a platform for LGBTQ+ individuals, ethnic minorities, and other marginalised communities to share their experiences. There is, I believe, this notion that Eastern Europe is a homogeneous region. I don’t think that’s true and I want my collection to reflect that, hence the inclusion of queer, Roma, and Jewish perspectives.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">The curated collection isn't just for Eastern Europeans—it's an invitation for cultural exchange. It was my goal for readers from various backgrounds to engage with the collection, to challenge their preconceptions, and to foster empathy. This idea of mutual understanding and appreciation is at the heart of the project's mission.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">As I've navigated the curatorial process, I've encountered challenges that have tested my determination. The process of selecting materials that capture the multifaceted nature of Eastern Europe while challenging stereotypes has required careful thought and research. But these challenges have also been a reminder of the importance of this project. The obstacles we face mirror the broader struggle for accurate representation and understanding.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Looking ahead, I'm excited about the impact this collection could have. It's not just about the present moment—it's about creating a legacy of inclusivity and celebration. It's about building bridges of understanding and fostering an interconnected society. I'm reminded of the initial goals I set out in the beginning—to bring Eastern European narratives to the forefront, challenge stereotypes, and foster greater understanding.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxA1EV195S5oP4gfshQJn8xGLjSSUNwraLxKMkB-eX96-Zx9ZV2SCzEwxD6Jf8fP2uXeXAE02DP2MUmZg5oYPjPqWJc10QotThQge0j2vLEmruamQnztG4lmOIlo5ubln9b52nOvqKPTTkvm_tsjkulh0vWxCb3apjcZMtjPK0Fb6PuLZhQ9_xEpQOCA/s2976/IMG_4498.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="view of the display" border="0" data-original-height="1984" data-original-width="2976" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxA1EV195S5oP4gfshQJn8xGLjSSUNwraLxKMkB-eX96-Zx9ZV2SCzEwxD6Jf8fP2uXeXAE02DP2MUmZg5oYPjPqWJc10QotThQge0j2vLEmruamQnztG4lmOIlo5ubln9b52nOvqKPTTkvm_tsjkulh0vWxCb3apjcZMtjPK0Fb6PuLZhQ9_xEpQOCA/w640-h426/IMG_4498.JPG" width="640" /></a></div><br /><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span><p></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">And it's not just about the project itself, but also about the individuals whose lives it may touch. It's about the (not necessarily Eastern European) immigrant who will find solace in the pages of a book, knowing they are not alone, and smile seeing a surname similar to their own on the cover. It's about the curious reader who will explore a culture they knew little about. It's about the collective effort to rewrite a narrative, to reshape perceptions, and to celebrate the vibrant diversity that Eastern Europe embodies.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">In these few weeks, the project has evolved from an idea into a reality, from a personal endeavour into a collective mission. I'm grateful for the support from the library team and the sense of purpose this journey has given me. As we move forward, I'm excited to see how the Eastern European library curation will continue to unfold and make a lasting impact on individuals, communities, and our understanding of the world around us.</span></p><div><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9YGBfoQTkT-hrUbtWbUv4VLW4YBWn_W-HnZacqIzJpgVaSBLR3WwsGm0ihdXVFNlf-6aCj8erG5n6-ATr8AbryXq7IEoefMSL75yV5xf7mHD8LG_8SGWWgtDjOtoLXPaPtXCzvfewiTBAS3PLNeartlyl3I0xN__4MtHoit-xgW_6-u5Z0XiswKixgQ/s2976/IMG_4503.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="view of the display" border="0" data-original-height="1984" data-original-width="2976" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9YGBfoQTkT-hrUbtWbUv4VLW4YBWn_W-HnZacqIzJpgVaSBLR3WwsGm0ihdXVFNlf-6aCj8erG5n6-ATr8AbryXq7IEoefMSL75yV5xf7mHD8LG_8SGWWgtDjOtoLXPaPtXCzvfewiTBAS3PLNeartlyl3I0xN__4MtHoit-xgW_6-u5Z0XiswKixgQ/w640-h426/IMG_4503.JPG" width="640" /></a></div><br /><span style="font-family: Arial, sans-serif; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-29115552224842542152023-07-10T08:38:00.000+01:002023-07-10T08:38:09.730+01:00Student Curation Project: Let Them Speak - Platforming Transgender Voices<p><i>This summer we are delighted to have two Student Curators working with us in the Library. You can <a href="Ania Kaczynska">read the first post in this series here, from Ania Kaczynska</a>. Below is today's post from Tilly Edney Harrison: Tilly is working on building a collection to help platform transgender voices.</i></p><span id="docs-internal-guid-592d0a4d-7fff-dc82-b58f-a6f103af3f1f"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img height="339" src="https://lh4.googleusercontent.com/WOIWFM8mtySV_-LAyBX13_V90Ng0EOqKMWv6a9cul_14ZlVWD8cW4EGQcDA88MSLFe-zhJRzNWDAL9KRyNPQ-i6shvUiIVC2iIe3Q7JygEemGfonVAWSbL_1a76opDpxjNxkZtSRTcSnEwvxc2hn0IA" style="font-size: 12pt; margin-left: auto; margin-right: auto; margin-top: 0px;" width="602" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space-collapse: preserve;">Photo: Stop Killing My Trans Siblings by </span><a href="https://www.flickr.com/photos/alisdare/" style="font-size: 18.6667px; text-align: left; text-decoration-line: none; white-space-collapse: preserve;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Alisdare Hickson</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space-collapse: preserve;">. Reproduced under a</span><a href="https://creativecommons.org/licenses/by-sa/2.0/" style="font-size: 18.6667px; text-align: left; text-decoration-line: none; white-space-collapse: preserve;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;"> Creative Commons licence</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; text-align: left; vertical-align: baseline; white-space-collapse: preserve;">.</span></td></tr></tbody></table><h3 dir="ltr" style="line-height: 1.2; margin-bottom: 4pt; margin-top: 14pt;"><span style="font-family: inherit; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Meet the Student Curator:</span></h3><span style="font-family: inherit;"><br /></span><div style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Hi, I’m Tilly! I’m a second-year English Literature student from London, and I’m nonbinary. I am passionate about the authorial presence and representation of transgender people in popular literature, film, and art, and aim to encourage greater curiosity, understanding and acceptance within the university community. During my study at the University of York I have felt the freedom to experiment with, and explore, my gender identity. Amongst other vital facilities, such as societies and socials, materials available through the University Library have been a crucial element of that. I hope to highlight these innumerable resources, accessible through the University Library and its archives, and encourage not just my fellow trans/genderqueer peers, but also the wider community, to throw themselves into the diverse narrative worlds of transgender authors. </span><span style="font-family: inherit; font-size: 12pt; white-space-collapse: preserve;">Amid recent upsurge in transphobic political rhetoric, legislation, the inaccessibility of health care, and increasing hate crimes - prompting the university community to uproot intolerant, societally dominant assumptions is imperative. </span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Platforming </span><span style="font-size: 16px; white-space-collapse: preserve;">the voices of transgender creators is essential to achieving this.</span></div><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: inherit; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></p><h3 dir="ltr" style="line-height: 1.2; margin-bottom: 4pt; margin-top: 14pt;"><span style="background-color: transparent; color: black; font-family: inherit; font-size: 14pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">What are Transgender Narratives?</span></h3><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: inherit; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><b id="docs-internal-guid-4c6768ee-7fff-3fd3-2c94-97b38a787118" style="font-weight: normal;"><br /></b></span></p><div style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Stonewall Organisation defines “trans” as an “umbrella term to describe people whose gender is not the same as, or does not sit comfortably with, the sex they were assigned at birth.” My project shall embrace this non-restrictive definition, including works by authors who queer the dominant conceptualisation of gender in endlessly different and unique ways. This curation shall highlight the voices of those who transverse and transcend binarizing Western gender norms.</span></span></div><div style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><b id="docs-internal-guid-a253114d-7fff-7e61-3372-26f323d549a0" style="font-weight: normal;"><span style="white-space-collapse: preserve;"><br /></span></b><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The transgender community has historically been silenced. Often violently. Their voices have been subverted into stereotyped narratives that conform to (and bolster) the dominant, hegemonic Western gender binary. The life story of Lili Elbe in </span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Man Into Woman </span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(1933) and </span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Danish Girl</span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (2015), for example, was mainly constructed through the voice of author/editor Niels Hoyer and publicist Paul Weber, and portrayed by cis actor Eddie Redmayne and director Tom Hooper. How then, might transgender people reclaim their voice, and begin to tell their own stories? These are the questions Sandy Stone asked <span style="font-family: inherit;">in her foundational 1987 essay </span></span><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Empire Strikes Back: A Posttranssexual Manifesto</span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. Progress has certainly been made since then; transgender authors and publishing houses have emerged and flourished. However, there is still work to be done.</span></span></span></div><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><br /></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-ecd4a86a-7fff-3879-2765-79b3a758b69e"><span style="font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"><span style="border: none; display: inline-block; height: 367px; overflow: hidden; width: 533px;"><span style="font-family: inherit;"><img height="367" src="https://lh4.googleusercontent.com/K-M73692v9PqOHRpTALAN3LH9Qw4XKr_GAZ-S2ozpIcEFdBHa1eSTbOiQNkHPAFqJIK2tY1sliOyhffvkZyfg6B54ZqYnbJGyOZKFaB2ct-rEhNFvs6qiwq2JQ_AqIFXHyuz1MP12bf-APlXkP1GMkg" style="margin-left: 0px; margin-top: 0px;" width="533" /></span></span></span></span></p><h3 style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-66846d09-7fff-f913-3aa8-24de8f9fc0a1"><span style="font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Why Read Transgender Narratives?</span></span></span></h3><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><br /></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-097eb8b7-7fff-fcd4-5ceb-094b89da7ccf"><span style="font-family: inherit;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">As a literature student, I know that stories are </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">undeniably</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> a force to reckon with. They permeate our everyday lives and are deeply enmeshed within our societal consciousness, in ways that we may not even be aware of (in our own subjectivities, news articles and recipes, for example). I believe that literature is not just a source of artistic beauty, it is also an integral tool for the exploration of the human experience. I remember reading </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Orlando </span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">(1928) at school, realising possibilities previously unimagined, and seeing feelings that I had previously been unable to shape into words represented. My understanding of gender was transformed when I read Judith Butler’s </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Gender Trouble</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> (1990) for the first time in college and began to question the societal conceptions I had previously credulously accepted. I remember watching Ruby Rose’s short film </span><span style="font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Break Free </span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">in 2014 and feeling an overwhelming sense of validation.</span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-408a4d15-7fff-24fe-c468-f6b7bdef8048"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Narratives – told through films, paintings, plays, comic books, and many other forms - shape not only the way we see the world around us, but also how we see ourselves. This is why literature plays such a crucial role in shaping our understanding of the complex issue of gender identity: as a platform for representation, an environment for exploration, and a window into diverse experiences and perspectives.</span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-9c09dc2e-7fff-41bd-0bb0-595b5a28b5df"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Over the course of my internship, I’ll be curating a list of widely varying materials, available from the University library, that exemplify the importance of narratives and artistic creation in the consideration of gender identity. Each book, movie and art piece might nurture a sense of validation, help to foster empathy and tolerance, serve as an educational tool, encourage deconstructive possibilities, be a safe space for self-reflection and exploration, and inspire critical thought.</span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-b99bb070-7fff-5c8d-c5b2-fa6779d01444"><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="border: none; display: inline-block; height: 372px; overflow: hidden; width: 501px;"><img height="372" src="https://lh5.googleusercontent.com/RFQLCAucUeQmUtj4DjBuKMHC8Qkd2h_KPCE1bnPC7PxPBz42QNSvmJGOj_rlLKajwCk9EA7d1eMkZGY1JlvtX1FWHgy6TBKqXNFXZxCqwoIduWGYUHwqh_KHbncfDcV0A9f5TMekt4ncrQYx1l2GLVk=w492-h372" style="margin-left: 0px; margin-top: 0px;" width="492" /></span></span></span></p><h3 style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-98fe2071-7fff-dca8-6f31-b2d513ba7997"><span style="font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Why Now?</span></span></span></h3><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-73bc8b72-7fff-92c6-b51b-9607114f56e1"></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: inherit;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span id="docs-internal-guid-606a6e88-7fff-1b3b-902a-d6ef2c6390a4"><span style="font-family: inherit;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Platforming transgender voices in our university community is particularly crucial amid a contemporary hike in trans-hate in the UK. Frequently labelled a “culture war”, an element of “identity politics”, there has been an undeniable increase in anti-trans rhetoric and proposed legislation in UK politics within recent years. Organisations such as The Trans Rights Index and Transgender Europe (TGEU) have stated that the UK is going ‘backwards’ on transgender rights, as transphobia has seemingly infiltrated the government’s agenda. They cite incidents such as the Equalities Minister, Kemi Badenoch, proposal (in April, this year) to alter the 2010 Equality Act to change the legal definition of ‘sex’, stripping trans people of many of many rights and protections, a proposal that was supported by the Equalities and Human Rights Commission. The use of Section 35 to block Scotland’s new Gender Recognition Legislation (this January) sparked protests from trans people and their allies around the United Kingdom. And recently, leaked video footage of Prime Minister Rishi Sunak mocking transgender women at a Conservative committee meeting, on June 5</span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-size: 0.6em; vertical-align: super;">th</span></span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">, displays the government’s willingness to deride and dehumanise transgender people.</span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span id="docs-internal-guid-666aa738-7fff-4269-3ad1-976a74d070fd"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Healthcare is also an area of strife for transgender people in the UK – The London Assembly Health Committee found in 2022 that 70% of trans people had experienced transphobia from their primary care provider, and 14% were refused GP care. Gender affirming healthcare is extremely difficult to access through the NHS – a process plagued with invasive questions, and seemingly endless waitlists – forcing some transgender people to immigrate in order to receive life-saving medical attention.</span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span id="docs-internal-guid-91fd3d68-7fff-61de-0f57-acc0dc6f11ea"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">This political rhetoric and medical inaccessibility has an undeniable impact upon the lives of trans people in the UK. Transphobic media narratives, political hostility and widespread ignorance translates into violence against the trans community, as evidenced by a rocketing in hate crimes targeting transgender people – there was an increase of 56% from 2021-2022 (according to The Independent). Tragically, this February, one such hate crime resulted in the murder of sixteen-year-old transgender girl Brianna Ghey in Cheshire. UK media outlets, such as The Times, Sky News and even the BBC were criticised for their transphobic coverage of Ghey’s death (deadnaming and misgendering her). Additionally, due to the Gender Recognition Act 2004 that prevents minors from acquiring gender recognition certificates, Ghey’s death certificate will likely misgender her - a failing that has been described as a final insult from the English government.</span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span id="docs-internal-guid-8d944186-7fff-86f4-35ca-cd092380bf57"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">This is why diversifying the library is crucial. My curation aims to educate, and shine a light of validation upon, the University community amid misinformation and derision.</span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></p><h3 style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-cfdb0562-7fff-a3ba-f337-78957d1f7651"><span style="font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">An Endless Curation:</span></span></span></h3><div><span><span face="Calibri, sans-serif" style="font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></div><div><span id="docs-internal-guid-300e7346-7fff-243c-3ca2-5abe1582dcb2"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Undeniably, my curation shall be far from exhaustive. It shall be unavoidably informed by its privileged frame of reference and Western context. However, I shall attempt to provide an introduction to the manifold creations of transgender authors, reflecting the unending diversity of transgender experience and oeuvre.</span></span></span></div><div><span><span face="Calibri, sans-serif" style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></div><div><span id="docs-internal-guid-62482db3-7fff-4cef-8362-7b6fd385666f"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">This curation shall strive to engage with the complications of intersectionality, exploring how issues of gender intersect and interact with other aspects of identity (such as ethnicity, class, sexuality, disability, and age), by platforming authors who give voice to these interconnected identities. My curation shall attempt to represent cultural variations in conceptualisations of gender, and the Colonial and Orientalist implications of the imposition of Western gender constructs. It shall strive to generate questions of subjectivity and fluidity, deconstructing privileged notions of stability. Addressing the question of historical contexts, this curation shall explore intriguing antecedent sociocultural understandings of gender and queerness, and the benefits of ‘queer affect’ - seeing one’s queerness in ancient texts - without imposing definitive modern labels and conceptualisations upon historic subjects.</span></span></span></div><div><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></div><div><span id="docs-internal-guid-074d0aec-7fff-69ff-3353-eb0ab66b10bf"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">The imaginative and deconstructive potentialities that abound from transgender voices (especially those engaging with Queer Theory) mean that many of these works shall defy genre, form and convention. They shall call into question preconceived notions of, not only gender and sex, but also race, misogyny, nationality, embodiment, and authorship.</span></span></span></div><div><span><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;"><br /></span></span></span></div><div><span id="docs-internal-guid-c3463fe4-7fff-9151-780e-5314067f89bd"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Therefore, despite its limitations, I hope that this collection shall go a short way towards highlighting the marginalised narratives of gender queer people, perhaps introducing you to texts that you haven’t previously heard of and encouraging readers to make a deliberate and continual effort to engage with transgender voices.</span></span></span></div></span>Tilly Edney Harrisonhttp://www.blogger.com/profile/09219699142716016782noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-38363897127752981682023-07-05T10:04:00.004+01:002023-07-10T08:39:41.593+01:00Student Curation Project: Unveiling Eastern Europe<span style="background-color: #f0f0f0;"><i><span class="c-message__sender c-message_kit__sender" data-qa="message_sender" data-stringify-text="Ania Kaczynska" data-stringify-type="replace" face="Slack-Lato, Slack-Fractions, appleLogo, sans-serif" style="box-sizing: inherit; color: #1d1c1d; font-size: 15px; font-variant-ligatures: common-ligatures; font-weight: 900; word-break: break-word;"><span class="p-member_profile_hover_card" role="presentation" style="box-sizing: inherit; display: inline-flex; height: fit-content; width: fit-content;"><button class="c-link--button c-message__sender_button" data-message-sender="U05BBDVAKPB" data-qa="message_sender_name" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-color: initial; border-style: initial; border-width: 0px; box-sizing: inherit; cursor: pointer; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; overflow: initial; padding: 0px; text-align: initial; vertical-align: initial;" type="button"><br /></button></span></span></i></span><div><span face="Slack-Lato, Slack-Fractions, appleLogo, sans-serif" style="color: #1d1c1d;"><span style="font-size: 15px; font-variant-ligatures: common-ligatures;"><i>Student Curator Ania Kaczynska is working on building an Eastern European Collection for the University Library. Here they outline their background and introduce the project. (Ania is one of two Student Curators we have working with us at the moment; <a href="https://informationdirectorate.blogspot.com/2023/07/student-curation-project-let-them-speak.html">read about the other curation project happening at the same time, here</a>.</i></span></span></div><div><span face="Slack-Lato, Slack-Fractions, appleLogo, sans-serif" style="color: #1d1c1d;"><span style="font-size: 15px; font-variant-ligatures: common-ligatures;"><i><br /></i></span></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://images.unsplash.com/photo-1680103149932-686d72289b18?ixlib=rb-4.0.3&ixid=M3wxMjA3fDB8MHxwaG90by1wYWdlfHx8fGVufDB8fHx8fA%3D%3D&auto=format&fit=crop&w=774&q=80" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Soviet tall building with a mural on the side of it" border="0" data-original-height="581" data-original-width="774" height="485" src="https://images.unsplash.com/photo-1680103149932-686d72289b18?ixlib=rb-4.0.3&ixid=M3wxMjA3fDB8MHxwaG90by1wYWdlfHx8fGVufDB8fHx8fA%3D%3D&auto=format&fit=crop&w=774&q=80" width="646" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Vladimir Malyavko, Minsk. Belarus, 2023. Photo via <a href="https://unsplash.com/photos/5zmkjHmpEZ0">UnSplash</a>.</td></tr></tbody></table><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p> </p><p>As an Eastern European immigrant in the United Kingdom, I quickly discovered that my identity and experiences were not adequately reflected in the spaces I encountered, despite the sizable population of approximately 2.2 million Eastern European nationals residing here. This personal struggle ignited a desire to change the narrative and create a platform where Eastern Europeans can feel acknowledged, understood, and honoured. Today, I am excited to introduce a project that aims to curate an Eastern European Library Collection, fostering diversity within the library and empowering individuals from the region. </p><p>When I first arrived in the UK, I encountered a distinct lack of representation and understanding of Eastern European culture, history, and perspectives. I yearned for a connection to my roots, a space where I could explore the richness of Eastern European heritage, and a platform that recognised the contributions of our communities. This personal struggle has driven me to initiate a project that not only addresses the underrepresentation but also aims to create a lasting impact on how Eastern Europeans are perceived and valued in Western Europe.</p><p>The curatorial project I'm undertaking, titled<i> Unveiling Eastern Europe: Narratives, Politics, and Cultural Expressions,</i> seeks to challenge stereotypes, dismantle biases, and promote inclusivity by curating a diverse range of materials that highlight the multifaceted nature of Eastern Europe. From literature to history, art, politics, and beyond, this collection will capture the essence of our diverse communities, providing a space for exploration, learning, and celebration.</p><p>Central to this project is the intention to amplify marginalised voices within the Eastern European diaspora. Through the collection, we aim to provide a platform for individuals from various backgrounds, including LGBTQ+ individuals, ethnic minorities, and other marginalised communities, to share their stories and experiences. By doing so, I hope to foster a sense of empowerment, representation, and solidarity among Eastern Europeans living in the UK.</p><p>The Eastern European Library Collection will not only serve as a resource for the Eastern European community but also as an invitation for cultural exchange and mutual understanding. By engaging with this collection, readers from all backgrounds will have the opportunity to explore the rich tapestry of Eastern European heritage, challenge their preconceptions, and foster empathy and appreciation.</p><p>I believe that together we can build bridges of understanding, celebrate diversity, and create a more inclusive and interconnected society. <i>Unveiling Eastern Europe: Narratives, Politics, and Cultural Expressions</i> is a call to action, an invitation for everyone to participate, learn, and grow. It is driven by my personal experiences and aspirations, but I primarily aim to create a lasting legacy of inclusivity and celebration. My goal is to bring Eastern European narratives to the forefront, challenge stereotypes, and foster a greater sense of understanding and appreciation for the diverse cultures and perspectives that Eastern Europe has to offer. </p><div><br /></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-76788547278529195542023-01-24T16:08:00.000+00:002023-01-24T16:08:28.971+00:00Retaining rights to make publications open access: the N8 partnership approach<p><i><b>Jonathan Cook</b> is Open Research Project Officer based in Library, Archives & Learning Services. In this post, he looks at the significant collaborative approach to open access publishing announced by the N8 Research Partnership, and how it will impact York researchers and policy.</i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim2W9Ksl0vs6tRWwhqFSeYoUgJF455zufzO9k2h2KK2tNvu8eAzgqQuYJlmLlaauNOpv9eUotXQjZ-EolQeRamk7-mI4VBh6A_S2nKyn5d-kD8geU8WnenBH6Chy9wOjAMTC8ZzdjHjntHbMvuGBbHyCdzGYqKpMMOf9rght-WjrqFZrtEFXPkTVav2Q/s800/Unlock%20laptop.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Image of an open padlock on a laptop" border="0" data-original-height="523" data-original-width="800" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim2W9Ksl0vs6tRWwhqFSeYoUgJF455zufzO9k2h2KK2tNvu8eAzgqQuYJlmLlaauNOpv9eUotXQjZ-EolQeRamk7-mI4VBh6A_S2nKyn5d-kD8geU8WnenBH6Chy9wOjAMTC8ZzdjHjntHbMvuGBbHyCdzGYqKpMMOf9rght-WjrqFZrtEFXPkTVav2Q/w320-h209/Unlock%20laptop.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: <i>Lock on laptop</i>, Rawpixel www.rawpixel.com/image/5908216<br />reproduced under a <a href="https://creativecommons.org/share-your-work/public-domain/cc0/">Creative Commons CC0</a> licence </td></tr></tbody></table><p>The N8 Research Partnership, of which York is a member, <a href="https://www.n8research.org.uk/n8-research-partnership-rights-retention-statement/">today released details</a> of a collaborative approach aimed at strengthening and harmonising Open Access policies across eight of the leading universities in northern England. This new initiative aims to empower researchers to make their work openly available immediately on publication, removing current barriers to dissemination and streamlining an often complicated process. </p><p>The N8 approach revolves around “Rights Retention”. In basic terms this is a recognition that authors should have certain rights over the research publications that they have created. In the past, researchers have typically been required to relinquish all rights to their research when signing contracts with publishers. This means they are left with limited ability to share their work. The University believes that open research practice enables a wide range of audiences to freely discover and engage with its excellent research, makes the research process transparent, and creates new opportunities for outputs and methods to be reused, reproduced and credited. If authors cannot exercise the rights to their research, and do not feel empowered to make their work open, these benefits become much harder to achieve.</p><p>This in turn can make it difficult for researchers to comply with Open Access requirements set by research funders. For instance, UKRI – the largest funding body in the UK – requires its authors to make their works openly accessible upon publication. This is often not possible in the current ecosystem, where publishers can place access embargoes on all versions of a paper, meaning the research may not be available until months or even years later.</p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWLenmC2ZT1FltyJqbLyPhukcBH21VVTDhQ1Pp4eRhZaSDcbd5haE4iY2D_m_tC958W7019HQKx7Uy6E0Xo4N-AwLpCC--IuHKUG7oTONk3wvTv0ZTA6DTbfOhAN0JBye13G11b7892zvwntMRvcT6BvxW2nGjXqJ5TRgCjHeIDFQFdDUAKrQehSi6fw/s1940/Plan_S_logo_default.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Plan S logo" border="0" data-original-height="933" data-original-width="1940" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWLenmC2ZT1FltyJqbLyPhukcBH21VVTDhQ1Pp4eRhZaSDcbd5haE4iY2D_m_tC958W7019HQKx7Uy6E0Xo4N-AwLpCC--IuHKUG7oTONk3wvTv0ZTA6DTbfOhAN0JBye13G11b7892zvwntMRvcT6BvxW2nGjXqJ5TRgCjHeIDFQFdDUAKrQehSi6fw/w320-h154/Plan_S_logo_default.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Plan S logo, © Coalition S</td></tr></tbody></table>Rights Retention in an Open Access context was first endorsed by faculty at the University of Harvard in 2008 and it has been the basis for many subsequent Open Access policies in the US, and more recently in the UK. In early 2022, the University of Edinburgh became the first UK institution to adopt a Rights Retention policy, with Cambridge and St Andrews among the universities that have since moved to this approach. Rights Retention is also the first principle of <a href="https://www.coalition-s.org/">Plan S</a>, the Europe-wide initiative towards greater open-access. As many of the largest research funders in Europe are members of Plan S, Rights Retention principles are also likely to be endorsed by a growing number of institutions on the continent. <p></p><p>In the N8 approach, the researcher grants their university a non-exclusive licence to make the peer-reviewed <a href="https://www.york.ac.uk/library/info-for/researchers/open-access/about/#tab-3">Accepted Manuscript version</a> of a research article immediately and publicly available as soon as the final version is published in a journal. This licence then has precedence over any agreement subsequently made with the publisher. A Rights Retention model simply recognises and reinforces the rights that an author should hold over their own work. The journal publisher retains their right to charge for access to the final published, typeset version of the work, ensuring that all parties remain recompensed for their valuable input.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm_DHXj3k9Z4Y8EhFLiwnqcu03LUzVCxrx4Dfo4xzFiM83mWW4IT8N1sFLhEc7c_MHxstpxCQDQ2imsAyBQr55dNwErZtVM-1KDLGMGh_s4Q9pGM1qLOH_tLWeLHALr1N3sz_nX2FUYT1PavlCTmMElL3zSRrEYP3wAd4Y4tnQ79Ix1MBWHSAKhQ4fzQ/s364/n8-logo.png" style="margin-left: auto; margin-right: auto;"><img alt="N8 Research Partnership logo" border="0" data-original-height="77" data-original-width="364" height="85" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm_DHXj3k9Z4Y8EhFLiwnqcu03LUzVCxrx4Dfo4xzFiM83mWW4IT8N1sFLhEc7c_MHxstpxCQDQ2imsAyBQr55dNwErZtVM-1KDLGMGh_s4Q9pGM1qLOH_tLWeLHALr1N3sz_nX2FUYT1PavlCTmMElL3zSRrEYP3wAd4Y4tnQ79Ix1MBWHSAKhQ4fzQ/w400-h85/n8-logo.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">N8 logo. © N8 Research Partnership</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Rights Retention will make it easier for researchers to make their work openly available and enjoy the benefits associated with open research. By continuing to deposit manuscripts to the York Research Database, authors can be confident that this is sufficient to comply with funder requirements, as well as meeting likely eligibility criteria for future Research Excellence Framework exercises. This is a positive move, from a situation where the responsibility fell on the individual researcher to make sense of the complex OA requirements of their particular case, to an environment where the University takes leadership in facilitating the open sharing of its research. </p><p>The N8 Universities will now be implementing these principles. <a href="https://library.leeds.ac.uk/news/article/1000/library/227/new-publications-policy-makes-rights-retention-a-must">Leeds</a>, <a href="https://blogs.ncl.ac.uk/opening-research/2022/09/rights-retention/#:~:text=Rights%20Retention%20Policies%20at%20UK%20HEIs&text=As%20mentioned%20earlier%2C%20Newcastle%20University's,on%201st%20January%202023.">Newcastle</a> and <a href="https://www.sheffield.ac.uk/news/university-sheffield-affirms-commitment-research-and-scholarship-access-be-open-all">Sheffield</a> have already announced their new Rights Retention policies. </p><p>More information about how this approach will affect Open Access policy at the University of York, along with guidance for researchers at York, will be available soon.</p>Thom Blakehttp://www.blogger.com/profile/01034761988707474489noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-63739318493059887532022-09-02T15:17:00.001+01:002022-09-02T15:17:51.125+01:00My Introduction to Open Research Practices and Principles<span id="docs-internal-guid-eb304196-7fff-4b0e-2f1d-f1a908a52149"><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>Kate Smith</b> recently worked as a Project Coordinator Intern for the Open Research team where she helped to create a strategic skills framework for open research practice. In this blog post, Kate reflects upon the important role of open research values, principles and culture at the University of York.</span></p></span><h2 style="text-align: left;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; white-space: pre-wrap;">What is Open Research?</span></h2><span id="docs-internal-guid-5f90acf4-7fff-9f33-b7f1-e8ba26995d62"><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Open research embodies the idea that all aspects of the research cycle should be as open as possible, as closed as necessary. When I first joined the Open Research team, my knowledge and experience in open research practice was very much limited. However, I was attracted to the opportunity because I was eager to learn more about how open research can benefit an increasingly complex and digital world. </span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">My initial exploration into open research was focused on the history of knowledge-sharing and how this has transformed research as we know it today. The practice of open publication and knowledge sharing was first established in the 1990s with the widespread availability of Internet access. Here, it was possible for researchers to publish their own work and also make it instantly accessible anywhere in the world. The first online, free-access journals emerged at a time when the traditional, print-based journal system was in crisis. Today, there are more than 12,000 academic journals available to researchers to publish and share their work. </span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In a post-COVID climate, scholarly attention is now focused on the need to make research a more open and collaborative process. Open research, also known as open science or open scholarship, is practised and supported by those who want to further the potential of digital technologies in scholarly communication.</span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiFVi9dl92ZiQV0uuVKutqv0N2HXAg4hRMmZQS50GM7IizhxlSixmZWRtI8Quk_EJe_hKntiIIuuNnmGLa_UOqxfKfdBRa15rtGlSGXvzfLw6AdVBEauNReiR9nX0NjTgzaaduqF1Hn7OKT2EmHuFMNT0jn-eXvcVA1MdIkRDwNYS2rlp1x0cvR0pZl" style="margin-left: auto; margin-right: auto;"><img alt="Projector display screen in the Berrick Saul Treehouse showing the Open Research at York: Two Years On event poster" data-original-height="2101" data-original-width="3177" height="212" src="https://blogger.googleusercontent.com/img/a/AVvXsEiFVi9dl92ZiQV0uuVKutqv0N2HXAg4hRMmZQS50GM7IizhxlSixmZWRtI8Quk_EJe_hKntiIIuuNnmGLa_UOqxfKfdBRa15rtGlSGXvzfLw6AdVBEauNReiR9nX0NjTgzaaduqF1Hn7OKT2EmHuFMNT0jn-eXvcVA1MdIkRDwNYS2rlp1x0cvR0pZl=w320-h212" title="Photo from the Two Years On event" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo from the Two Years On event in July</td></tr></tbody></table><br /><p dir="ltr" style="line-height: 1.295; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Open Research at York</span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Open Research team at the University of York have made tremendous efforts in promoting and supporting an open research community. Their work includes the successful development of an </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Find+an+Advocate+in+your+field" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Advocates Network</span></a><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> which includes academics, researchers and support staff who are champions of good open research practice. </span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">During my internship, I had the fantastic opportunity to meet with advocates and fellow practitioners of open research at the </span><a href="https://wiki.york.ac.uk/pages/viewpage.action?pageId=292454479" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Two Years On event</span></a><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Many of the presenters at this event were recipients of the </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/York+Open+Research+Awards" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open Research Awards scheme</span></a><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> which recognises work that encourages dialogue, reflection and border thinking about open research practices. Here, I was introduced to the brilliant work of Caitlin Doley and her colleagues who had created the innovative </span><a href="https://aspectus.york.ac.uk/about-us" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Aspectus: A Journal for Visual Culture</span></a><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, and Vlad Ungureanu and Dr Andrew Mason’s JBU visualisation tool which demonstrated the massive potential of sustainable software practices in the advancement of biomedical research. </span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEicGiU1bw49eHCDbCLk9Tw5OJxhcBKJylyqHHM32xPFFBQQm-6pTXPzqfhm9z7CYSqI-oSSOR26D-1jjUO0BDC62milSR6Ue4K4BoWV8WN3aC6EkSVcMIU1jneeXs-9o5PcjJ-rxJj4gOZ7camryJJQ2XF5W0Kv2me8f8vHQqRrAICw0BNx9iqrRrQ5" style="margin-left: auto; margin-right: auto;"><img alt="Open research lifecycle wheel diagram, with four segments labelled Develop, Acquire, Process and Publish" data-original-height="1036" data-original-width="1126" height="294" src="https://blogger.googleusercontent.com/img/a/AVvXsEicGiU1bw49eHCDbCLk9Tw5OJxhcBKJylyqHHM32xPFFBQQm-6pTXPzqfhm9z7CYSqI-oSSOR26D-1jjUO0BDC62milSR6Ue4K4BoWV8WN3aC6EkSVcMIU1jneeXs-9o5PcjJ-rxJj4gOZ7camryJJQ2XF5W0Kv2me8f8vHQqRrAICw0BNx9iqrRrQ5=w320-h294" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A preview of the open research lifecycle wheel from our forthcoming skills framework</td></tr></tbody></table><br /><h2 style="line-height: 1.295; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">An Open Research Skills Framework</span></h2><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Over the course of my internship, I have learnt about the roles, challenges and benefits of open research for the research community at York. The objective of my internship was to create an inclusive skills framework which outlined the knowledge and skills of open research practices as well as provide information on relevant guidance and support. </span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In addition to my own research, I had the opportunity to meet with open research advocates and practitioners who provided critical feedback to my first draft of the skills framework. </span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>We are aiming to finalise and launch the Open Research Skills Framework in time for the start of the 2022/23 academic year. F</i></span><i style="font-family: Calibri, sans-serif; font-size: 11pt; white-space: pre-wrap;">ollow <a href="https://twitter.com/UoYOpenRes">@UoYOpenRes</a> on Twitter f</i><i style="font-family: Calibri, sans-serif; font-size: 11pt; white-space: pre-wrap;">or the latest updates on this and other York Open Research initiatives.</i></p></span>Ben Catthttp://www.blogger.com/profile/08698425863571637680noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-86413835755395839082022-07-04T12:39:00.023+01:002022-07-04T12:46:16.255+01:00Return of the York Open Research Awards<p style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"><span>In this post Ben Catt, Open Research Librarian,</span> announces this year’s York Open Research Awards recipients and shares an invitation to our</span><i><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">Two Years On </span></i><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">event on Wednesday 13th July. </span></span></p><span id="docs-internal-guid-9690f3e7-7fff-1685-a6f1-3e28e4d1927b"><div class="separator" style="clear: both; text-align: left;"><span style="border: none; display: inline-block; font-family: inherit; font-size: medium; height: 260px; margin-left: 1em; margin-right: 1em; overflow: hidden; width: 384px;"><img alt="York Open Research Awards 2022 logo; white and yellow text on purple background with University of York and UKRI Research England logos" height="271" src="https://lh4.googleusercontent.com/ef6lrpjZyMkIufRlV5_zb-R4q11hpq8PduFjheDMaH7XD08qXWQP-Mt2pZFM-H1fjcLzVzLgPP1AN4NRSw_97yUVt-k4l3zWCs3OxPKO7YTxgFfB5HrtYV7plQwsuUWAXNgGkURPtu0fDnpDVcE=w400-h271" style="margin-left: 0px; margin-top: 0px;" title="York Open Research Awards 2022 logo" width="400" /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As we reach the end of another academic year, we are pleased to announce the recipients of our second round of <a href="https://wiki.york.ac.uk/display/YorkOpenResearch/York+Open+Research+Awards" target="_blank">York Open Research Awards</a>. This University-wide scheme ran during summer term, welcoming projects and initiatives from researchers across all disciplines, levels of study and career stages. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The criteria and motivations behind the awards were similar to last year (see </span><a href="https://informationdirectorate.blogspot.com/2021/11/celebrating-open-research-at-york.html" style="text-decoration-line: none;" target="_blank"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">previous blog post</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">). The purpose of this year’s scheme was, once again, to celebrate innovation, advocacy and good practice in open research whilst addressing and reflecting upon some of the issues and barriers faced by researchers who engage in such practices. What we mean by good open research practice is that different aspects of the research lifecycle are shared and accessible, helping to make the research process transparent and creating new opportunities for outputs and methods to be reused, reproduced and credited. The motive behind running another awards scheme was to continue incentivising and highlighting examples of good practice across the University, helping contribute towards a University research culture where open is seen as the default (see <a href="https://www.york.ac.uk/staff/research/open-research/" target="_blank">Open Research at York</a>).</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The proposal for this year’s awards was developed in collaboration with members of our practitioner-led <a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Open+Research+Advocates+network" target="_blank">Open Research Advocates network</a>. As we reflected upon last year, it was important to have their input in the scheme from the outset. We also had an interdisciplinary judging panel which included a representative from each faculty at the University (lecturers from Environment and Geography and Education, the Research Development Manager for the Arts & Humanities) and an ECR rep - a postgraduate researcher from Psychology.</span></p><h2 style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: left;"><span style="font-family: inherit; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Open for submissions</span></h2><div><span style="font-family: inherit; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td><img alt="UKRI Research England logo" height="102" src="https://lh5.googleusercontent.com/-B3y6iCE_Vxj1oJugZLoK6sADjAM5kZSnuM0E0SzXRUnwf2h_JgD62vxlDjn_bm9sJRIIkwCSWxcfrwrTK2B4aORNc5_nkJ75z-XBJIKF2rrPC2QfQ_oCSGFKoovYpnFNUzve5LYgveHS-cK3zc=w320-h102" style="margin-left: auto; margin-right: auto; margin-top: 0px;" title="UKRI Research England logo" width="320" /></td></tr><tr><td class="tr-caption">Research England logo © 2022 UKRI (<a href="https://ukri.frontify.com/d/zgfuBB2r7aAg/brand-basics#/brand-guidelines/using-our-brand" target="_blank">source</a>)<br /><br /></td></tr></tbody></table></span></div><div><span style="font-family: inherit; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;">Funding for this year’s awards came from a </span><a href="https://www.ukri.org/publications/enhancing-research-culture-funding-allocations-2021-to-2022/" style="font-family: inherit; text-align: start; text-decoration-line: none;" target="_blank"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">UKRI Research England grant for enhancing research culture</span></a><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;">. Open research has a key role to play in how research is valued, rewarded and incentivised, and we were successful in securing a share of this grant which has been allocated to the University as a whole to support activities covered by the Government’s </span><a href="https://www.gov.uk/government/publications/research-and-development-rd-people-and-culture-strategy" style="font-family: inherit; text-align: start; text-decoration-line: none;" target="_blank"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">R&D People and Culture Strategy</span></a><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: start; vertical-align: baseline; white-space: pre-wrap;">. We set aside £200 for each prize, and took the same approach as last year by grouping the awards into categories for each faculty and by type of submission (research projects and advocacy or training initiatives). </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We also commissioned some York Open Research merchandise to help incentivise submissions, which involved some lengthy, but helpful, discussions with our central Communications Support team on the University’s new branding guidelines! We ended up opting for the simplest combination of fonts and colour palettes, and we’re in the process of embedding this new visual identity on our web pages and elsewhere. We purchased "Get involved in Open Research at York" tote bags, notebooks, eco-friendly pens and stickers, which we’ll also be offering at our Two Years On event next week (see below). </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; font-family: inherit; font-size: medium; height: 292px; overflow: hidden; width: 361px;"><img alt="York Open Research merchandise, including a tote bag, pen, notebook and sticker" height="259" src="https://lh4.googleusercontent.com/h-rDjOVemnX3lmv0xFL79mQORBudTE_fWcMRzWNbI8yDXdDzyrEKp5jjZjUMF1uW6SuDA-4Qim9WanUVXpNYeJdjnQ3tyTcjqb_7zZlR4117ss0ocQ10zo6UYzcxcF8sFbj_lVHqxA36BcZa5v8=w320-h259" style="margin-left: 0px; margin-top: 0px;" title="York Open Research merchandise" width="320" /></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Submissions were open for four weeks between April and May, during which we received 23 entries across nine departments (an improvement on last year, when we received 15 submissions across eight departments). We’d like to thank all those who submitted their work, as well as members of our Advocates network and others who shared information about the awards in their areas. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Last year the judges were quite generous and decided that all the submissions were worthy of awards. This year’s submissions were strong, but the panel chose to exercise a bit more discretion and selected just 12 entries for recognition. This included seven from Sciences (mostly Department of Psychology), three from Social Sciences (all from Education) and two from Arts & Humanities. We had a good share of staff, postgraduate researcher and student awardees, including one third year undergraduate in Psychology. There was also a greater share of undergraduate and postgraduate submissions this year than last year, which was good to see.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline;">A full list of awardees is available on our </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/York+Open+Research+Awards" style="font-family: inherit; text-align: justify; text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">York Open Research wiki space</span></a>, and in the following tweet thread:</span></p><blockquote class="twitter-tweet"><p dir="ltr" lang="en"></p><div style="text-align: left;">Here's a mega-thread where we’ll be highlighting the researchers receiving awards and their projects... 🧵</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Go to <a href="https://t.co/iwTEE1YLns">https://t.co/iwTEE1YLns</a> for a more detailed summary of their amazing work, and the names of all those who have been involved. <a href="https://t.co/n8CUbaGree">https://t.co/n8CUbaGree</a></div><p></p><div style="text-align: left;">— York Open Research (@UoYOpenRes) <a href="https://twitter.com/UoYOpenRes/status/1537052276744921089?ref_src=twsrc%5Etfw">June 15, 2022</a></div></blockquote> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Awardees include a postgraduate researcher-led open access journal in History of Art, open source tools in Biology and Chemistry, and several projects in Education and Psychology where workflows and methods have been shared openly through preregistration and other means. </span><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We will be working with our awardees to develop advocacy and training materials based on their work, hopefully including new additions to our series of </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Open+Research+in+practice+case+studies" style="font-family: inherit; text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open Research in practice case studies</span></a><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><h2 style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: left;"><span style="font-family: inherit; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Open to ideas</span></h2><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We are keen to hear from members of our research community, including those who participated in this year's awards, with any suggestions on how we might be able to improve the awards scheme if it goes ahead next year. </span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">For instance, we didn’t spend all the funds that had been allocated for prizes as we didn’t have any eligible submissions in certain categories, and the distinction we created between submission types (projects and initiatives) was difficult to determine in some cases. Next year we may reconsider our use of prize categories, taking into account the </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">different levels of awareness and engagement</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> which continue to exist across disciplines, and the need to further encourage open practices in some areas (<a href="https://informationdirectorate.blogspot.com/2021/01/a-year-in-open-research-at-york.html">see previous post on our summer 2020 survey</a>). </span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Quite a few submissions included lengthy descriptions of the research topic itself, whereas the judges were just looking for evidence of open research practices and principles in the work. We could perhaps revise the submission form to encourage more focused and relevant submissions. Another reflection is that the awardees announcement came later than planned, and ended up being the same day as the York Graduate Research School </span><a href="https://www.york.ac.uk/research/events/three-minute-thesis/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">3 Minute Thesis</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> competition and a day before the </span><a href="https://yusu.org/excellence" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">YUSU Excellence Awards</span></a>. I<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">f we are able to run another awards scheme next year then we should consider the timings more carefully to take account of other events such as these. </span></span></p><h2 style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: left;"><span style="font-size: medium;"><span style="white-space: pre-wrap;">An open invitation</span></span></h2><div style="text-align: left;"><span> </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Open+Research+at+York:+Two+Years+On" target="_blank"><img alt="Open Research at York: Two Years On event poster; black text on cloudy sky background with University of York logo. Text reads: Wednesday 13 July, 2022 (11:00-13:30) The Treehouse, Berrick Saul Building; A lunchtime discussion for the University of York open research community of practice; What have we achieved, where are we going, and what challenges do we still need to address?" height="225" src="https://lh3.googleusercontent.com/2aueFpTy9govvKZ8pidH8eqpe_izcoFOvqxJbABSA30QhWTfCZNUuX6TtGredOOuUEvMQoV7OlR8we3MkXEfmt7jykFk2LpL_uWg35hmMC8VtiTn-aeC21E10YA8er6sI9Vj49l-B4gjSZyLe1E=w400-h225" style="font-size: large; margin-left: 0px; margin-top: 0px; text-align: center; white-space: pre-wrap;" title="Open Research at York: Two Years On event poster" width="400" /></a></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This year we have invited all the winners to attend </span></span><span style="font-weight: 700; white-space: pre-wrap;">York Open Research: Two Years On</span><span style="white-space: pre-wrap;">,</span><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> an in-person event scheduled for next Wednesday, 13th July</span><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Three awardees are contributing posters for the event, and four have agreed to do presentations, which should be a good way to share these projects with the wider research community at York. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This will be a friendly and informal event for staff and postgraduate researchers, reflecting upon what we have achieved in the past two years as an open research community of practice and considering where we are going and what challenges still need to be addressed. The event will be hosted by Professor Sarah Thompson, chair of the University of York Open Research Strategy Group, and will include lunch and refreshments. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You can find out more and register for the event </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Open+Research+at+York:+Two+Years+On" style="text-decoration-line: none;" target="_blank"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> if you haven’t already done so. We look forward to being able to meet with our research community in person after two years of online events and Zoom meetings!</span></span></p></span>Ben Catthttp://www.blogger.com/profile/08698425863571637680noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-58427958620089979712022-03-22T16:10:00.002+00:002022-03-22T16:37:52.672+00:00Challenging Perceptions: being anti-racist<p style="text-align: left;"><i> Celia Edwards is currently working for the Library as a Student Curator. (You can <a href="http://informationdirectorate.blogspot.com/2022/02/reimagining-africa-student-curation.html" target="_blank">read 'Reimagining Africa' here</a>, by her fellow Student Curator Kristen Harding.) In this post she describes the toolkit she's working on, which we hope to make available in the next week. </i></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-59ca2d05-7fff-b881-7d7d-bb4bf122e9c6"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">When George Floyd’s death made headlines around the world in May 2020, it felt like a watershed moment in world history. Sparking the largest racial justice protests ever seen in the United Kingdom, the following months of campaigning, listening and learning highlighted the ‘covert racism’ experienced by so many in the UK. Now, almost 2 years later, how can we ensure our academic thinking is underpinned by anti-racist thought?</span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; white-space: pre-wrap;"><br /></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; white-space: pre-wrap;">Using library resources, I’ll be curating a toolkit to help students take an informed, anti-racist approach to university level reading and research. While some of the texts we’ll use are classic works on racial equity and equality, others have been published within the last 6 months and offer new ways of thinking about racism in academia. </span></p><p style="text-align: left;"><span face="Calibri, sans-serif" style="font-size: 12pt; white-space: pre-wrap;">Using these resources, we’ll look at the big questions that weave their way through every element of our university experience. How can we apply a critical, anti-racist framework to the study of historic academic texts? How can marginalised narratives be brought to the forefront of our studies?</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span face="Calibri, sans-serif" style="font-size: 12pt; white-space: pre-wrap;">These aren’t easy questions, but I hope the resources in this toolkit will go some way to answering them. Many of us bring ideas of how race intersects with gender and the past with us from childhood, and it's time to change this. To begin, we need to be informed and start thinking differently. </span></p><p style="text-align: left;"><b style="font-weight: normal;"><br /></b></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span face="Calibri, sans-serif" style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>About the Student Curator:</b></span></p><p style="text-align: left;"><span face="Calibri, sans-serif" style="font-size: 12pt; white-space: pre-wrap;">Hello! I’m Celia, a final year history student here at York. During the first COVID lockdown back in March 2020, I found myself drawing on the library’s online collection to keep me occupied and informed. Later that year, I moved to the States to study abroad for a year. There, I found myself relying on York’s collection yet again! A passion to share the library’s wide-ranging non subject specific resources with other students is driving my Student Curator project.</span></p><p style="text-align: left;"><br /></p>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-43245571638412525212022-02-02T16:55:00.003+00:002022-02-03T13:35:32.237+00:00Reimagining Africa: A student curation project<p><i>By Kristen Harding, Student Curator </i></p><p>In my second year as an English student in South Africa, our lecturer asked the class if we could point to Nigeria on a map. About one hundred faces stared blankly at the picture of Africa projected onto the screen ahead. To further prove her point, she asked us where Los Angeles and New York are, which we located almost automatically. It was a startling yet unsurprising realisation that we knew more about other continents than the one we were actually living on.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://images.unsplash.com/photo-1626695436755-3e288720849c?ixlib=rb-1.2.1&ixid=MnwxMjA3fDB8MHxwaG90by1wYWdlfHx8fGVufDB8fHx8&auto=format&fit=crop&w=1471&q=80" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="800" height="427" src="https://images.unsplash.com/photo-1626695436755-3e288720849c?ixlib=rb-1.2.1&ixid=MnwxMjA3fDB8MHxwaG90by1wYWdlfHx8fGVufDB8fHx8&auto=format&fit=crop&w=1471&q=80" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: <i>Africa on the globe </i>by James Wiseman (<a href="https://unsplash.com/@jameswiseman" target="_blank">https://unsplash.com/@jameswiseman</a>). Reproduced under a <a href="https://unsplash.com/license" target="_blank">Creative Commons licence</a> (https://unsplash.com/license).<br /></td></tr></tbody></table><p>My name is Kristen Harding and before moving to England to start my Master's in Film and Literature at York, I studied English at Stellenbosch University for four years. As I progressed through my studies, it became clearer that stories <span style="white-space: pre-wrap;">– whether from books, films, the news or the radio </span><span style="white-space: pre-wrap;">– play a huge role in determining what we know and don't know about the world. It's this, together with my own position as a person from Africa, that inspires my project as a Student Curator Intern in the library this term. </span></p><p><span style="white-space: pre-wrap;">Over the next few weeks, I'll be curating a list of materials available in our library to promote a selection of African stories told by Africans themselves. This will be to shed light on the fact that Africa is much more than the bleak, homogenous continent that Western narratives make it out to be. I would also love for the collection to encourage us to reach for African work not only for educational purposes but also just for the value of a good story.</span></p><p><span style="white-space: pre-wrap;">Making a consistent and intentional effort to engage with discourses outside of those that are dominant, has the potential to open our minds to new ways of seeing the world. So I hope that the books, films, articles, and other media I'll be sharing through this project will contribute to a reimagining of the African continent that is playful, queer, and even magical.</span></p>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-40857248911182770032021-11-25T12:17:00.000+00:002021-11-25T12:17:26.403+00:00Celebrating open research at York<p><span style="font-family: inherit; font-size: medium;"> <span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In this post </span><a href="https://www.york.ac.uk/library/info-for/researchers/support/" style="text-decoration-line: none;"><span style="color: #1155cc; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Ben Catt</span></a><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, Open Research Librarian, talks about the success of this summer’s York Open Research Awards scheme which highlighted engagement with open research practices and principles across the University. </span></span></p><p><span style="font-family: inherit;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; font-size: 11pt; text-align: center;"><span style="font-family: inherit;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUabczTEsp2emQlOmWWlhJ6IpyYSRLwPMmCOwNI_KRgiw3G9vio__mDUiioC2YGdfebfIKy0RIMcxijNihbohjPGjYwUbHef2vS0uQadCmVg-YIe0tjfAzAAJEOVaqk1qHzVBwqI9uSA4/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="781" data-original-width="1171" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUabczTEsp2emQlOmWWlhJ6IpyYSRLwPMmCOwNI_KRgiw3G9vio__mDUiioC2YGdfebfIKy0RIMcxijNihbohjPGjYwUbHef2vS0uQadCmVg-YIe0tjfAzAAJEOVaqk1qHzVBwqI9uSA4/" width="320" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">Image credit: <a href="https://unsplash.com/photos/_XTY6lD8jgM" target="_blank">Giorgio Trovato on Unsplash</a></span></span></span></div><p></p><span id="docs-internal-guid-bc5df399-7fff-9d26-b02d-539d2faf0abf" style="font-family: inherit;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Back in September 2020 the University Library submitted a successful bid for a £2,500 grant from </span><a href="https://wellcome.org/what-we-do/our-work/open-research" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Wellcome Trust</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> to help develop an open research community of practice at York. </span><a href="https://informationdirectorate.blogspot.com/2021/01/a-year-in-open-research-at-york.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">As I explained in a previous blog post</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the University is committed to supporting the values, principles and culture of </span><a href="https://www.york.ac.uk/staff/research/open-research/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">open research</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> whereby all aspects of the research cycle can be shared freely for others to reuse. A key element of this is ensuring that good examples from our research community are shared and celebrated, hopefully inspiring others to consider adopting open methods in their own practice. We decided that an awards scheme would be a great way to achieve this, and we were delighted to receive support for our proposal from Wellcome alongside match funding from the University Research Development Fund.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We can’t take credit for coming up with the idea of an open research awards scheme; University of Reading were probably the first UK institution to run such a scheme in 2019, which they </span><a href="https://www.ukcorr.org/2021/07/27/reflecting-on-the-open-research-award-at-the-university-of-reading/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">repeated in July this year</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Similar prizes have also been awarded by King’s College London, University of Bristol, University of Surrey and most recently our White Rose Libraries partners at </span><a href="http://librarysupport.group.shef.ac.uk/libraryblog/2021/08/04/the-university-of-sheffield-open-research-prize-2021/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">University of Sheffield</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. A useful </span><a href="https://osf.io/kqgez/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">primer</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> from the UK Reproducibility Network offers advice from awards scheme organisers at some of these institutions, and our initial proposal followed a similar model with the focus on running a high-profile showcase event for the winners.</span></p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">Learn how to set up and run an Open Research Award with our new primer, free to download at: <a href="https://t.co/TjstCHMXUf">https://t.co/TjstCHMXUf</a>. Written by <a href="https://twitter.com/robert_darby17?ref_src=twsrc%5Etfw">@robert_darby17</a> (<a href="https://twitter.com/UniRdg_OpenRes?ref_src=twsrc%5Etfw">@UniRdg_OpenRes</a>), Kirsty Merrett (<a href="https://twitter.com/databris?ref_src=twsrc%5Etfw">@databris</a>), <a href="https://twitter.com/ekfarran?ref_src=twsrc%5Etfw">@ekfarran</a> & <a href="https://twitter.com/mehta_mitul72?ref_src=twsrc%5Etfw">@mehta_mitul72</a>. See all our primers at <a href="https://t.co/REblto5eLR">https://t.co/REblto5eLR</a> <a href="https://twitter.com/hashtag/OpenResearch?src=hash&ref_src=twsrc%5Etfw">#OpenResearch</a> <a href="https://t.co/CGzpbeaSmM">pic.twitter.com/CGzpbeaSmM</a></p>— UK Reproducibility Network (@ukrepro) <a href="https://twitter.com/ukrepro/status/1408409103735664640?ref_src=twsrc%5Etfw">June 25, 2021</a></blockquote> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script><h2 style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: left;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A shift in focus</span></h2><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Plans for the awards were set aside until summer as we concentrated on other initiatives, including the formation of our </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Open+Research+Advocates+network" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open Research Advocates network</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and organising two successful Open Research in Practice events; </span><a href="https://wiki.york.ac.uk/pages/viewpage.action?pageId=233997230" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Software Sustainability in Practice</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and </span><a href="https://wiki.york.ac.uk/pages/viewpage.action?pageId=233997240" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open Humanities in Practice</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. We then decided to turn to our research community for their thoughts on our proposal (in hindsight, we should have involved them in our plans at an earlier stage).</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Our Advocates network and academic colleagues from the University Open Research Strategy Group provided useful feedback on the need to carefully define the criteria by which submissions should be judged, bearing in mind the difficulty of comparing practices like-for-like and the disparate levels of engagement and issues surrounding open research in different areas (as highlighted by our </span><a href="https://osf.io/4gs8n/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">open research awareness and engagement survey</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> last year). Another suggestion was to focus on encouraging engagement in disciplines where open research is not common practice and to bring about wider benefits to the research community by developing eligible submissions into case studies for training purposes. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">With this feedback in mind we decided to refocus the awards as a less competitive and more inclusive opportunity to highlight projects and advocacy initiatives across disciplines. The idea was to recognise work that encourages dialogue, reflection and broader thinking about some of the issues involved in open research and barriers to its implementation. The prizes (£200 each) were split into categories by faculty and role (staff, postgraduate researchers and undergraduate students), thereby encouraging participation from a wide range of potential entrants. We also decided to set aside some prize money to use as additional funding for selected initiatives at the discretion of the judging panel, which comprised academic staff from each faculty and an ECR (Early Career Researcher) representative from the Strategy Group. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A simple submission process was devised where we asked entrants to provide a brief description (no more than 1,000 words) of their research project or initiative, focusing on ways in which they have engaged with, reflected upon or advocated for open research practices and principles. They could also provide links to supporting materials, for example open access publications, open data sets or pre-registration documents arising from their work. The submission form was open from May 10th to June 4th and publicised through various channels including our recently-created </span><a href="https://twitter.com/uoyopenres?lang=en" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">York Open Research Twitter account</span></a><span style="white-space: pre-wrap;">.</span></p><blockquote class="twitter-tweet"><p dir="ltr" lang="en"><span style="font-size: 11pt; white-space: pre-wrap;">Have you been involved in a project or initiative at York which has engaged with, reflected upon or advocated for <a href="https://twitter.com/hashtag/OpenResearch?src=hash&ref_src=twsrc%5Etfw">#OpenResearch</a>? <br /><br />The <a href="https://twitter.com/hashtag/YorkOpenResearch?src=hash&ref_src=twsrc%5Etfw">#YorkOpenResearch</a> Awards are offering £200 and potential funding to help celebrate your work and share it with the wider community.<br /><br />(1/3) <a href="https://t.co/Qun7vi4m40">pic.twitter.com/Qun7vi4m40</a></span></p><span style="font-size: 11pt; white-space: pre-wrap;">— York Open Research (@UoYOpenRes) <a href="https://twitter.com/UoYOpenRes/status/1391714997911293953?ref_src=twsrc%5Etfw">May 10, 2021</a></span></blockquote><span style="font-size: 11pt; white-space: pre-wrap;"> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script></span><p></p></span><p></p><h2 style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: 14pt; white-space: pre-wrap;">And the winners are...</span></h2><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Fifteen submissions were received, covering a diverse range of projects and initiatives from across all three faculties and from researchers at different stages of their careers or studies. We received several submissions in some categories, but less entries than we had expected overall. The judging panel agreed to be flexible in how the prizes were distributed, and so we decided that all submissions were deserving of recognition. A full list of the projects and initiatives that were awarded can be found on our </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/York+Open+Research+Awards+2021" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">York Open Research wiki</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Several submissions were for open research advocacy and training initiatives, and the judging panel decided to award additional funding to two submissions based in Psychology. The first of these is </span><a href="https://sites.google.com/york.ac.uk/openautismresearch/home" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open Autism Research</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, a collaborative network encouraging open and reproducible practices in the field of autism research led by Dr Hannah Hobson. The network was launched at an online event in September attended by over 40 delegates from around the world and Hannah took the opportunity to talk about this at our recent Open Access Week showcase event, </span><a href="https://youtu.be/cCSZBSEYi2Y?t=2900" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open research across the White Rose Universities</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. The second initiative to receive funding is our local </span><a href="https://reproducibilitea.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">ReproducibiliTea</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> journal club, who meet bi-monthly during term time to discuss diverse issues, papers and ideas about open and reproducible research. The organisers (who are all ECRs) are now planning events to expand their membership and exchange experiences with researchers across other disciplines. We look forward to seeing how both these initiatives develop in the upcoming year!</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We are also working with researchers to turn their submissions into </span><a href="https://wiki.york.ac.uk/pages/viewpage.action?pageId=231936009" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Open Research in Practice case studies</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, another initiative borrowed from the </span><a href="https://www.reading.ac.uk/research/research-environment/open-research/open-research-case-studies" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">University of Reading</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. The focus of these case studies is on the experiences of researchers and lessons learned through their engagement with open research practice. The first set of these include </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Romans+at+Home%3A+a+collaborative+outreach+project+with+people+living+with+dementia" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Romans at Home</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, a collaborative outreach project with York Archaeological Trust led by Digital Heritage MSc student Eleanor Drew, and </span><a href="https://wiki.york.ac.uk/display/YorkOpenResearch/Covid+Realities%3A+participant-led+research+in+response+to+the+pandemic" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Covid Realities</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, a participatory research programme with low-income families led by researchers in SPSW. If you are a researcher based at York then we would love to receive your case studies to help inspire others to embed open practices in their work.</span></span></p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">We often hear it said that people who work with us deserve an award...and now it's happened!!<br />Happy to see that <a href="https://twitter.com/DanelawDawn?ref_src=twsrc%5Etfw">@DanelawDawn</a> has won a <a href="https://twitter.com/UoYOpenRes?ref_src=twsrc%5Etfw">@UoYOpenRes</a> award for our collaborative investigations at Sheffield Castle <a href="https://twitter.com/hashtag/DigSheffCastle?src=hash&ref_src=twsrc%5Etfw">#DigSheffCastle</a> <a href="https://twitter.com/hashtag/Archaeology?src=hash&ref_src=twsrc%5Etfw">#Archaeology</a> <a href="https://twitter.com/hashtag/LoveSheffield?src=hash&ref_src=twsrc%5Etfw">#LoveSheffield</a> <a href="https://t.co/JB531lHxsa">https://t.co/JB531lHxsa</a></p>— Wessex Archaeology Northern Office (@WA_north) <a href="https://twitter.com/WA_north/status/1407648117529399307?ref_src=twsrc%5Etfw">June 23, 2021</a></blockquote> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script><span style="font-family: inherit;"><script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script></span><h2 style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">What next?</span></h2><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We would like to run the York Open Research Awards again next summer but we are still in a very early stage of planning. We welcome any thoughts from the research community on how the scheme could be improved, or suggestions on how to help incentivise and celebrate open research practice across the University. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Please feel free to email the Open Research Team (</span><a href="mailto:lib-open-research@york.ac.uk" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">lib-open-research@york.ac.uk</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">) with your ideas and </span><a href="https://twitter.com/uoyopenres?lang=en" style="text-decoration-line: none;"><span style="color: #1155cc; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">follow us on Twitter</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> for updates on this and other #YorkOpenResearch initiatives.</span></span></p><div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>Ben Catthttp://www.blogger.com/profile/08698425863571637680noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-63264949744424890032021-01-05T12:03:00.003+00:002021-09-19T16:41:45.188+01:00A year in open research at York<div style="text-align: left;"><span id="docs-internal-guid-d001b8d5-7fff-c157-37e3-7c319db0199e"><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 12.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Open research enables all aspects of the research cycle to be shared freely for others to reuse. <b>Ben Catt </b></span><span style="font-family: Calibri, sans-serif; font-size: 12.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">talks about the rise of open research practice during the Covid-19 pandemic, and recent initiatives for open research at York. <span></span></span></p><a name='more'></a></span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgon19EIohcDMNVtlmot16uFngxACTwkipKxw6XMSzOfVrfmFiYBmgpvxbmM-PTAAovNRrLvmd1KeMKr94bnRo2uSvuMe6c7Abg9TXib_x3Nndk_H-sRclZk_gKzFgz6Vva_g0aJRTTPms/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="An open book on a wooden desk" data-original-height="480" data-original-width="960" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgon19EIohcDMNVtlmot16uFngxACTwkipKxw6XMSzOfVrfmFiYBmgpvxbmM-PTAAovNRrLvmd1KeMKr94bnRo2uSvuMe6c7Abg9TXib_x3Nndk_H-sRclZk_gKzFgz6Vva_g0aJRTTPms/w320-h160/image.png" title="An open book on a wooden desk" width="320" /></a></div><br />2020 was a hugely disruptive year, to say the least, both for universities and across our broader society. The global Covid-19 pandemic has set new priorities for researchers in some fields whilst forcing others to make unexpected changes to their day-to-day work and adapt to new practices. <p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In many areas there has been a significant uptake in engagement with open research. This can be broadly defined as an approach where research plans and outputs are made freely available online for others to access and reuse for any purpose. Open research goes beyond open access publication by seeking to open up all aspects of the research lifecycle, where possible. It is sometimes referred to as ‘open science’, but </span><a href="https://www.york.ac.uk/staff/research/open-research/open-research-at-york/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">at York</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> we promote the idea that open research can be applied across all disciplines in different ways - it is not necessarily limited to the sciences. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You may have encountered or read about </span><a href="https://blogs.lse.ac.uk/impactofsocialsciences/2020/11/17/the-need-for-open-data-sharing-in-the-era-of-global-pandemics/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">the open sharing of Covid-related data</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and </span><a href="https://connect.medrxiv.org/relate/content/181" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">preprints</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (early, unrefereed versions of papers) in response to the pandemic. These practices have encouraged transparency and reproducibility in biomedical research, enabling scientists to build upon each other’s work and to collaborate across disciplines and borders. You may also have taken part in a Citizen Science project, helping to </span><a href="https://www.theguardian.com/science/2020/mar/24/uk-app-aims-to-help-researchers-track-spread-of-coronavirus" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">track symptoms in the population</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> or just as a </span><a href="https://www.theguardian.com/environment/2020/apr/18/be-a-citizen-scientist-track-plastic-waste-spot-a-spider-monkey-or-beat-coronavirus" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">productive way to spend time during lockdown</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. These projects have helped to open up research processes to members of the public, encouraging wider understanding and greater appreciation for such work. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Open Research Team’s </span><a href="https://subjectguides.york.ac.uk/openresearch/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Practical Guide</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> offers further examples of open research methods and notes how different practices are being used to disseminate valuable research related to Covid.</span></p><h1 dir="ltr" style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A cultural shift</span></h1><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Open research culture has been developing steadily for decades (2021 marks the 30th anniversary of </span><a href="https://www.library.cornell.edu/arxiv" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">arXiv</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the first preprint server) but has gathered huge momentum in the past couple of years. It has recently been recognised and endorsed by the UK Government in their </span><a href="https://www.gov.uk/government/publications/uk-research-and-development-roadmap" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Research and Development Roadmap</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (“We must embrace the potential of open research practices… so that reproducibility is enabled, and knowledge is shared and spread collaboratively”) and UNESCO in their draft </span><a href="https://en.unesco.org/science-sustainable-future/open-science/recommendation" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Recommendation on Open Science</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (“a new paradigm for the scientific enterprise based on transparency, sharing and collaboration”). </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Research funders are also helping to drive this cultural shift. Wellcome have launched a new </span><a href="https://wellcome.org/grant-funding/guidance/open-access-guidance/open-access-policy" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">open access policy</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and their </span><a href="https://wellcomeopenresearch.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Wellcome Open Research</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> platform helps to enable the rapid dissemination and open peer review of their funded research across different disciplines. UKRI is also finalising its </span><a href="https://www.ukri.org/about-us/policies-standards-and-data/good-research-resource-hub/open-research/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">new policy</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and will soon undertake a review of open research data and software policy and practice. Both organisations have endorsed </span><a href="https://www.coalition-s.org/plan_s_principles/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Plan S</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the Europe-wide initiative for full and immediate open access to research outputs:</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“With effect from 2021, all scholarly publications on the results from research funded by public or private grants provided by national, regional and international research councils and funding bodies, must be published in Open Access Journals, on Open Access Platforms, or made immediately available through Open Access Repositories without embargo.”</span><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - </span><a href="https://www.coalition-s.org/plan_s_principles/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">The Plan S Principles</span></a></p><h1 dir="ltr" style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">#YorkOpenResearch</span></h1><div><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">2020 was also a significant year for open research initiatives at York. In May we published a </span><a href="https://www.york.ac.uk/staff/research/open-research/" style="text-align: justify; text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">statement</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> outlining the University’s commitment to (and management-level support for) the values, principles and culture of open research. The following month we hosted the </span><a href="https://youtu.be/PyHBT86XBkg" style="text-align: justify; text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">York Open Research</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> online launch event, featuring a keynote from Rachel Bruce (UKRI Head of Open Research), plus lightning talks from Professor Emma Marsden (Education), Emma James (Psychology) and Emma Rand (Biology) on different aspects of open research in their disciplines. </span></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PyHBT86XBkg" width="455" youtube-src-id="PyHBT86XBkg"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We ran a survey alongside these initiatives to assess current levels of awareness and engagement with open research across the University. The survey was aimed at research staff, support staff and postgraduate research students but was open to responses from anyone at York (many thanks if you took the time to respond!). A copy of the full survey report can be found </span><a href="https://osf.io/4gs8n/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span><p></p><h1 dir="ltr" style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Our survey said...</span></h1><div><span style="font-family: Calibri, sans-serif; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQk22iAhTXb6mFSPt518HslcFB-A3i8zPC0EkiXqInwPuEr8CwLkByUq7H-7W1vUTEQJihzJ3U7VjS0bLWpRXoNpeNlDXo6ozeFNf3ip6arpujnWeWgOcl-ES-s_7YO7abHsdnPWTlfDY/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Simplified survey with a tick next to a smiley face" data-original-height="720" data-original-width="960" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQk22iAhTXb6mFSPt518HslcFB-A3i8zPC0EkiXqInwPuEr8CwLkByUq7H-7W1vUTEQJihzJ3U7VjS0bLWpRXoNpeNlDXo6ozeFNf3ip6arpujnWeWgOcl-ES-s_7YO7abHsdnPWTlfDY/w320-h240/image.png" title="Simplified survey with a tick next to a smiley face" width="320" /></a></div><span style="font-size: 11.5pt; text-align: justify;">The survey results showed a correlation between levels of experience and the perceived importance of different open research practices. Open Access publishing and open licensing were, perhaps unsurprisingly, the most widely used practices and were also seen as the most important. An interesting outlier was open data, which was seen as relatively important (perhaps owing to an awareness of Covid data sharing) although most respondents had little or no experience of this in practice. </span></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Aside from these, most respondents had no experience of the majority of practices and did not know how important they were. Registered Reports, open/electronic lab books and pre-registration were the least used practices and were also seen as the least important. This may be because they are still confined to certain fields such as Psychology, although they are being adopted more widely as best practice is shared between disciplines.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The main barriers to open research were identified as lack of training, clarity and understanding. This was particularly evident in responses from support staff and students, as well as from Arts and Humanities respondents who commented that they did not see open research as relevant to their discipline. Lack of dedicated funding for open research was also identified as a main barrier, presumably referring to costs associated with open access publishing (APCs) although the funding landscape for open research is complex and varies significantly between disciplines. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The survey offered useful initial evidence of activity (and non-activity) in many areas across the university. The additional comments provided by respondents were especially insightful and suggest that there is significant interest and enthusiasm as well as some trepidation and distrust towards open research practice. Efforts are now underway to establish a York Open Research community of practice to facilitate discussions and address some of the issues (and misconceptions) raised here. </span></p><h1 dir="ltr" style="line-height: 1.38; margin-bottom: 6pt; margin-top: 24pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Looking ahead </span></h1><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The role of Open Research Advocates will be key to achieving this grassroots-level engagement and leading by example. Advocates will become ‘local champions’ for open research and will be involved in developing and delivering discipline-specific training workshops, events and resources alongside Library staff. We plan to launch the Advocates scheme formally in the next couple of months, but you can </span><a href="mailto:ben.catt@york.ac.uk" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">email us</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> for further information in the meantime if you are interested. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A follow-up survey is planned for summer 2021 to assess whether perceptions have changed and whether levels of engagement and experience have improved as a result of our community support and advocacy initiatives. We are also planning an open research awards event to take place around the same time, helping to incentivise and showcase best practice from across the University.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The shift towards open research in response to Covid has been unprecedented and will outlast the pandemic in terms of its impact on the transparency, accessibility and reproducibility of research. This new approach will be of great importance when it comes to addressing future challenges, a view outlined by Robert Kiley, Head of Open Research at Wellcome, in a </span><a href="https://blogs.lse.ac.uk/impactofsocialsciences/2020/10/06/39677/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">recent blog post</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“We have many other huge challenges ahead of us – from climate change to mental health to other infectious diseases. All of them will require researchers working at the cutting edge of their field, with free, unfettered access to the research literature and the underlying data.” </span><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- </span><a href="https://blogs.lse.ac.uk/impactofsocialsciences/2020/10/06/39677/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Robert Kiley</span></a></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We are excited to see this shift beginning to take place at York, and we look forward to working alongside our community of practitioners to foster a cross-disciplinary culture of open research in 2021.<span></span></span></p><!--more--><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://www.york.ac.uk/library/info-for/researchers/support/">Ben Catt</a> is an Open Research Librarian and member of the University Open Research Operations Group. </span></p></div>Ben Catthttp://www.blogger.com/profile/08698425863571637680noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-56005064108223154752020-11-24T11:24:00.002+00:002021-09-19T16:57:47.144+01:00Could COVID improve access?: Accessibility, remote working and pandemic<style>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/41361/images/UKDHM_Logo_01-1.png" style="width:20%;max-width:800px;float:right;margin-left:15px;margin-bottom:15px;border:0px;background:none;box-shadow:none;" alt="" title="UK Disability History Month">
<p style="font-size:110%"><a href="https://ukdhm.org" target="_blank">UK Disability History Month</a> runs from 18th November to 20th December each year. <span style="font-weight:bold">Alice Bennett</span> reflects on the digital shift forced by the pandemic in the light of this year's theme "Access: How far have we come? How far have we to go?" </p>
<p>The COVID-19 pandemic has forced many social changes but one of the greatest has been the digital shift, as more people than ever study and work remotely. This shift online has not been limited to work but also extended to leisure, with live streamed concerts and stand up performances and increased online content from galleries and theatres, much of it free.</p>
<img src="https://libapps-eu.s3.amazonaws.com/accounts/41361/images/wells-theatre-210914_1280.jpg" style="width:33%;max-width:996px;float:left;margin-right:15px;margin-bottom:15px" alt="A rather opulent theatre... a bit of a fancier ambience than watching from home" title="Wells Theatre">
<p>The price of attendance and potential difficulty in travelling to venues is a barrier to attending events and activities for many people, but disproportionately impacts disabled people. The recent availability of so many performances and activities online not only helps to overcome the potential barrier of cost, but also the frequent inaccessibility of venues and transport. It also helps overcome other potential barriers - for example, being able to watch from home opens up live streamed performances to those with chronic pain or fatigue that prevents travel, it enables a good view for those unable to stand gigs, and provides a relaxed and controllable home atmosphere to those who find theatre venues stressful. Recorded National Theatre productions, films released early on platforms such as Amazon and streamed concerts all provide opportunities for a far wider audience to engage with these performances. </p>
<p>During lockdown, getting outside became far more difficult for everyone, although between issues of cost and accessibility of travel, and the accessibility of sites themselves, has meant natural beauty spots can be difficult to access for a great many. Wildlife webcams are not new, but received new attention in lockdown, as a way to facilitate lockdown nature watching - for example <a href="https://www.wildlifetrusts.org/webcams" target="_blank">the webcams of the UK Wildlife Trusts</a>, which let you stream footage of the natural world (including puffins, shown right, photo of from the UK Wildlife Trusts). Whilst these can benefit anyone in lockdown or otherwise unable to make the trip, the improvement and promotion of these remote means of accessing the natural world are again of particular importance or opening up opportunities for engagement with disabled audiences. </p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/41361/images/atlantic-puffin-1149707_960_720.jpg" style="width:80%;max-width:960px" alt="A puffin stands on a rock, contemplating whether or not to watch the Wildlife Trusts webcam" title="A puffin">
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<p>On a more local level, activities such as exercise classes, coffee mornings, music lessons and book clubs are no longer safe to hold in person. Many of these have gone digital, providing what they can online, both in terms of content and maintaining social contact for their users. Again this opens up possibilities for new audiences, for those previously unable to attend. </p>
<p>The shift online has not universally improved accessibility. The move to provide physical services virtually has highlighted the digital divide - the gap between those with reliable high speed internet provision and the technology to use digital tools effectively and those without reliable technology and internet access. Those unfamiliar with digital tools may be similarly excluded. Therefore although the greater online provision has enabled engagement for many more than previously, it has not enabled access for all. </p>
<p>Besides online provision of leisure activities, the pandemic has seen a great many people work remotely, often for the first time. Whilst this has meant the need to adjust to new ways of working, being able to work or study remotely opens opportunities to those with disabilities, removing potential barriers such as inaccessible buildings and difficulty commuting. Whilst this has eased lockdown for many, the sudden proliferation of online resources and working from home wherever possible has not been without comment and some resentment from the disability community. Why is the new accessibility being criticised? Well, the accessibility is not - but rather that it took a pandemic to make it happen. </p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/41361/images/photo-1497493292307-31c376b6e479.jpg" style="width:80%;max-width:751px" alt="Someone sat at a computer, lit only by their monitor and a rather distracting sunset through the window." title="Working from home">
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<p>Many disabled people have had requests to work or study remotely (whether the remote aspect would be full or part time) refused, with individuals having been told that remote working would not be possible for that job or that course. Now, many of those same jobs and courses which could not be managed remotely have been shifted online. As these accommodations are made, there has been understandable anger from those previously denied them. </p>
<p>This topic has come up in the BBC Ouch! Corona pandemic podcast, a spin off from the Ouch! Disability reporting. In the <a href="https://www.bbc.co.uk/news/disability-51960580" target="_blank" title="Ouch! Cabin Fever Podcast 1">first podcast of the series</a>, broadcast on 29th March 2020, journalist and blogger Natasha Lipman commented:</p>
<p style="margin-left:10%;margin-right:10%;font-style:italic">“It's been very interesting seeing a lot of disabled people online talking about this, saying how people have lost their jobs or had to drop out of university or schools or not be able to get a job in the first place, and then within the space of a week or two remote working, flexible working. Online lectures have suddenly become a thing. So I think it's been something that a lot of people have been finding difficult.</p>
<p style="margin-left:10%;margin-right:10%;font-style:italic">What I've been saying for years is that there are an awful lot of jobs that can be done with more flexibility, and this doesn't just benefit disabled people, it can have huge benefits to a lot of people, but then of course in this situation there are a lot of people who don't have that luxury of being able to say okay, I'm going to keep working but work from home.”</p>
<p>In the <a href="https://www.bbc.co.uk/news/disability-52149216" target="_blank" title="Ouch! Cabin Fever Podcast 2">second episode of the podcast</a> (broadcast on 1st April 2020), this was also a subject for comment from Ellis Palmer, a producer on BBC NewsHour on the World Service:</p>
<p style="margin-left:10%;margin-right:10%;font-style:italic">“I actually think this crisis could throw up a really, really interesting thing for a lot of disabled people, which is we had to fight a lot of the time to get reasonable adjustments, but now a lot of non-disabled people are finding they need reasonable adjustments, laptops or whatever, to be able to work from home. And now they're realising kind of the wisdom of our fight. Hopefully there will be more of an acceptance of remote working, just spending a day in the office a week. So, I actually think the future of work post COVID-19 could be potentially advantageous for disabled people economically speaking.”</p>
<p>The situation is common across economically developed countries. The disability activist Imani Barbarin describes seeing a company publicizing their working from home provision during the pandemic - a company which has previously told her that working from home would be impossible. <a href="https://www.inquirer.com/health/coronavirus/coronavirus-pennsylvania-disability-accessibility-accommodations-20200331.html" target="_blank" title="Coronavirus made accessibility a priority. It should stay that way when the pandemic ends.">Her article</a> outlining her anger at the situation appeared on 31st March 2020 in <span style="font-style:italic">The Philadelphia Inquirer</span>. </p>
<p>So will COVID change this? At this point, we don't know. It is too soon to predict the long term social impact of this pandemic. Enabling more widespread remote working could improve diversity, particularly opening up possibilities for work and study for those living with chronic illness or disability. With lockdowns creating enforced experiments on the possibilities of remote working, studying and wider engagement, COVID may have proved that more online access is possible than previously thought. It is tragic that it has taken a pandemic to push progress in accessibility, but hopefully, a more flexible and accessible culture or work, study and leisure activities can be a lasting legacy, long after COVID has gone. </p>
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<p style="font-weight:bold">If you found this article interesting, there's more like it in our free online <a href="https://www.futurelearn.com/courses/digital-wellbeing" target="_blank">Digital Wellbeing</a> course.</p>Stephanie Jesperhttp://www.blogger.com/profile/11368547989969547462noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-6955081143643986542020-05-12T10:03:00.000+01:002020-05-12T10:03:00.012+01:00NVivo Cantando!<p style="font-size:110%"><strong>NVivo</strong> is a popular software package for qualitative data analysis. <strong>Stephanie Jesper</strong> takes a topical look at it ahead of our NVivo <a href="https://subjectguides.york.ac.uk/skills/training" >Digital Wednesdays</a> session next month.</p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/9183/images/nvivo_esc.jpg" style="width:80%;max-width:1080px" alt="An empty NVivo all ready to be filled" title="An empty NVivo all ready to be filled">
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<p>This week would've been the week of the <a href="https://en.wikipedia.org/wiki/Eurovision_Song_Contest" target="_blank">Eurovision Song Contest</a>: one of my favourite weeks of the year. But a certain global pandemic got in the way. So instead I'm spending the week playing with <a href="https://www.york.ac.uk/it-services/software/a-z/nvivo/#tab-1" >NVivo</a>. It's not the same. Still, I'm keen to make my NVivo play as interesting as possible in every way that I can... maybe I could liven it up with a little Eurovision-related qualitative data analysis?
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<p>The 2020 contest may have been cancelled, but what's another year I could play with? My number one Eurovision Song Contest is 1977 (there were some really wild dances that year), but it's probably better to choose a contest with a more famous winner. And I believe pretty-much everybody knows the winner from 1974 so let's go with that...
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NVivo is a qualitative data analysis tool. Most data analysis is quantitative: it's about counting numbers. And spreadsheets are really good at that. You can throw in a load of numerical data and get really quite sophisticated analysis at the touch of a button. But a lot of data we get is in the form of text; of words. And that sort of thing is a bit harder to automatically analyse in a meaningful way. NVivo is a tool to facilitate that analysis.
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<h3>Files</h3>
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The first thing NVivo needs is some data. You can import all kinds of everything into NVivo: the spreadsheets you've collated, the bibliographic data you've amassed, the voice recordings you made when you were conducting interviews... all kinds of other materials you might want to analyse like emails, tweets, transcripts, video... or in our case song lyrics.
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<p>I've sourced the lyrics to all the 1974 Eurovision Song Contest entries (translated into English where necessary) and I've imported them into NVivo. Now what?</p>
<p>Frustratingly, it's not just as simple as saying "Hey, NVivo, my love: shine a light on these texts. I wanna know all the juicy details". NVivo isn't that clever. It's not an artificial intelligence tool. It's more like a glorified highlighter pen that can add up. You're going to have to do a lot of the hard work.</p>
<p>But that's no reason to go running scared from NVivo. Helpfully it's been built to look like a Microsoft Office application, so that makes it a bit easier than it could be to navigate. And down the left-hand side of NVivo's navigation pane are three important subsections: <strong>Files</strong>, <strong>Codes</strong>, and <strong>Cases</strong>. The first of these is relatively straightforward: we've just imported a load of files. But what are these codes and cases?</p>
<h3>Cases and classifications</h3>
<p>It's important to stress that NVivo's a pretty open environment and you can use these fields how you like, but there are some standard principles. We'll start with cases. Let's say you've done several interviews with different people. Each person might be considered a "case". You might've interviewed them twice so there'd be two files associated with them (or maybe even more), but they're the one case.</p>
<p>Files and cases also have associated "classifications". These are your <a href="https://en.wikipedia.org/wiki/Metadata" target="_blank">metadata</a>. File classifications may be things about the file itself: what type of file it is, when it was recorded, etc. Case classifications are the demographics of your case: maybe you interviewed some great operatic diva from the stage, some jazz heroes from the local club, and some rock'n'roll kids from satellite TV: here's where you'd put all the useful background information about them. In my case I'm putting in here the information about the songs: artist, country, score, placing, etc.:</p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/9183/images/nvivo_esc2.jpg" style="width:80%;max-width:1080px" alt="I've linked my files to my cases, and added case classifications" title="I've linked my files to my cases, and added case classifications">
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<p>These classifications are useful because they offer an extra layer of potential analysis with which to toy (do the songs sung in English perform better than the songs sung in other languages, for instance?).</p>
<h3>Codes and nodes</h3>
<p>And then there's the codes. These are where most of the action happens in a tool like NVivo. And it's action that is very much on you. There <em>are</em> ways to automatically code in NVivo but you'll miss a lot if you do that. Or get a lot of stuff you don't need. NVivo isn't some magic fairytale tool. You're going to have to go through all your files and manually code them up. This involves making your mind up about what approach to take. Is there a pre-existing set of themes or categories you could apply, or are you just going to work from the bottom up, tagging things as you see them? Which method works best in your eyes?</P>
<p>Here I've tagged up the winning song from 1974: Abba's "Waterloo":</p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/9183/images/nvivo_esc3.jpg" style="width:80%;max-width:1080px" alt="Tagging up Waterloo: coding strips show where certain nodes are being applied" title="Tagging up Waterloo">
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<p>I'm working very much bottom-up: I've noticed certain themes and I've created a "node" for each one, e.g. "Love", "War", etc. I've even nested some nodes beneath others ("War", I've decided, is a subset of "Society"). Again, how you do this is up to you.</p>
<p>Another decision I've had to make is whether I mark up the refrain: does a repeated chorus count as a repetition of imagery, or does it just skew my analysis? Also, does a "la la la" count as musical imagery worthy of coding? You'll be faced with a lot of questions like this. You might want to save several copies of your project as you go, in case you change your mind about anything.</P>
<p>...and in case NVivo crashes. Which it did for me as I was coding up. That's why I have a file called "esc74 (Recovered).nvp". "Why me?" I despaired. I didn't realise how much this crash would rock me. I was about to cry at the frustration of having to do all that coding again, only teardrops were thankfully spared when NVivo persuaded my file to rise like a phoenix. I let out a little "hallelujah" such was my euphoria.</p>
<h3>Exploring the data</h3>
<p>Coding took a while. And I didn't do a particularly good job of it. Still, once it was done I could start on the analysis. There's a whole arcade of tools to play with in NVivo...</p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/9183/images/esc74wc.jpg" style="width:80%;max-width:1080px" alt="A wordcloud from Eurovision 1974: 'love' is the biggest word. 'sing", 'one', 'lala', and 'Waterloo' are also up there" title="Love">
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<p>A simple thing that didn't need any coding up was this wordcloud. The words "sing", "one", and "lala" fly on the wings of "love", with "Waterloo" also quite obvious in the mix.</p>
<p>But now we've coded up we can look at other things too. Here's the nodes for "love" and "war" plotted against the "language" case:
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/9183/images/esc74lw.jpg" style="width:80%;max-width:800px" alt="Love versus War: 'love' is the dominant theme in all languages except Serbo-Croatian" title="Love versus War">
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<p>You probably have to play with the analysis tools a bit to get something really telling from the data, and think about things you want to explore in more detail. But you can get counts and cross-tabulations on all your codes and cases, and one of those combinations might be the revelation you're looking for. Personally, I'm rather fond of this particular visualisation:</p>
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<img src="https://libapps-eu.s3.amazonaws.com/accounts/9183/images/Text_Search_Query_-_Results_Preview.jpg" style="width:80%;max-width:835px" alt="What comes before and after the word 'Waterloo' in the song 'Waterloo'?" title="What comes before and after the word 'Waterloo' in the song 'Waterloo'?">
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<p>I've only scratched at the surface of what's possible with the help of NVivo. If you're interested in finding out more, there's our <a href="https://subjectguides.york.ac.uk/skills/research-data">Research data Skills Guide</a>, but we're also doing an "<a href="https://yorkalit.targetconnect.net/leap/event.html?id=12055&service=Academic+Support+Office">Intro to NVivo</a>" demo on Zoom as part of our <a href="https://subjectguides.york.ac.uk/skills/training" >Digital Wednesdays</a> research theme this term. That takes place at <strong>2pm on Wednesday 3rd June</strong>, and is open to all members of the University. In lieu of this year's Eurovision Song Contest, it may be the best gig taking place this year! Failing that, you could always shove this text into NVivo and see if you can code up all the winning songs I smuggled into it. There's 30 to find...</p>Stephanie Jesperhttp://www.blogger.com/profile/11368547989969547462noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-32358838368661372432020-05-04T11:18:00.004+01:002021-09-19T16:55:58.798+01:00Looking after your digital wellbeing in lockdown<style>
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<p style="font-size:110%">Ahead of our latest free online course on <a href="https://www.futurelearn.com/courses/digital-wellbeing"><strong>Digital Wellbeing</strong></a> which starts on 11th May, one of the course facilitators, <strong>Alice Bennett</strong> takes a look at the challenge of maintaining our digital wellbeing under lockdown...</p>
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<p>If you are a fan of MOOCs – Massive Open Online Courses – you might know that some of us here in the Library and IT have been involved in creating a few of them, one of which is on <em>digital wellbeing</em>. We update it each time we run it, to make sure it covers current issues but when we were preparing to run it again this year, something big happened: a pandemic. </p>
<p>Does this affect your teaching if your teaching was always going to be online? Well, it certainly does if your course is about digital wellbeing! With life in lockdown, working from home and studying remotely have become the new routine for the majority, social media and video calling are the primary means of staying connected and whether streaming or gaming, the digital dominates entertainment too. </p>
<p>Looking over our previous course materials, there was suddenly a very big, very virus-y hole. We talked about tech in the workplace – workplaces that are now closed. We discussed how not to annoy colleagues with emails but made no mention of videoconferencing. We talked about unhelpful comparisons on social media, but hadn’t mentioned comparing lockdown sourdough loaves. Everything was still current, but also somehow very out of date. This course has a global audience and we try to talk about trends rather than specifics, but this was a global event. We had to acknowledge the elephant that had suddenly waltzed into the room. </p>
<p>But what about overload? The pandemic is dominating our lives, so we can’t ignore it, but we didn’t want it to dominate this course. We couldn’t talk about digital wellbeing without mentioning something which pushed so much more of daily life online and has so heavily impacted wellbeing. On the other hand, continually staring the pandemic and its every digital ramification in the face was not the answer. Studying online is not necessarily escapism, but for most it is not about endlessly probing the worst of life’s problems either. </p>
<p>And we don’t know the whole story yet. We can talk about digital trends and habits, we can look at how lockdown has changed our behaviours, we can consider how we are using digital technology to combat the virus – but long term, we still don’t know what impact this will have on our digital world and our relationship with it. It may change habits, or people may revert to pre pandemic behaviours – we won’t know for some time what legacy we have been left. </p>
<p>So with this latest run of the course we have tried to strike a balance. We discuss the big digital issues and the immediate ones. If, like me, you have participated in more video conferences in the past few weeks than in the entirety of your life before 2020, we have tips on video calls and working from home, as well as discussing the risk of being always on when working remotely. With so many of us spending more time online during lockdown – whether through choice or necessity – understanding the way we interact with digital technology is even more important. There are risks and unresolved problems with our relationships with the digital world, but similarly there are amazing possibilities. So join us to consider the pitfalls and potentials of digital technology and the impact on our wellbeing, at a time when negotiating our wellbeing and an increasingly online life are especially important. </p>
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<p style="font-size:110%">The new run of our <a href="https://www.futurelearn.com/courses/digital-wellbeing"><strong>Digital Wellbeing</strong></a> course starts on Monday 11th May.</p>Stephanie Jesperhttp://www.blogger.com/profile/11368547989969547462noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-83470836646428773622020-02-25T13:35:00.003+00:002021-09-19T16:44:08.686+01:00A Fifteenth-Century Medical Handbook in York Minster Library (YML, XVI. E. 32). Part 4 - a blog by Dr Rebeca Cubas-Peña<h2>
<span style="font-family: inherit;">Part IV: Reception</span></h2>
<span style="font-family: inherit;">In the same manner that modern students take notes in the margins of their study books or come across other students’ annotations in library books, earlier readers marked and adapted the texts they read as a method of assimilating and internalising new and useful material. Through these notes, readers show an engagement and interaction with the texts which represent a natural process of reading. This engagement is manifested not only in the form of annotations but also in the number of devices that readers have added to their books in order to facilitate their navigation and understanding.<br /><br />Numerous post-medieval owners of the York medieval manuscript engaged with the volume. It is worth mentioning that if it were not for these additions modern readers would think that the manuscript was barely read, since except for a few dog-ears is in excellent condition. Knowing the disposition of a medical book might have been indeed helpful, if not necessary, to a medical practitioner. Given the practicality of such subject matter, the fact that herbals or treatises on simples were copied in alphabetical order, that the headings of the recipes were copied both in the body of the text and the margins, or that several collections of recipes followed the so-called ‘head-to-toe’ principle would have been convenient to the practitioner in need of specific information to heal a patient, especially if in haste. </span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-28juLI10ZZs/Xk6hZ-hbaSI/AAAAAAAABBg/JVyrkNFe8-QfkRpbQeu6vzbHA5dUk6puQCNcBGAsYHQ/s1600/Pic_1_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><b><img border="0" data-original-height="646" data-original-width="961" height="215" src="https://1.bp.blogspot.com/-28juLI10ZZs/Xk6hZ-hbaSI/AAAAAAAABBg/JVyrkNFe8-QfkRpbQeu6vzbHA5dUk6puQCNcBGAsYHQ/s320/Pic_1_%25284%2529%255B1%255D.jpg" width="320" /></b></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-d22a98ad-7fff-d989-0186-63f4f14b89b8"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit;"><span style="font-family: inherit; font-size: xx-small;">An incomplete table of contents concerning a collection of recipes written by a sixteenth-century reader (fols. 81v-82r)</span><span style="font-size: small; font-weight: bold;">
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<span style="font-family: inherit;"><b>Marginal annotations</b><br /><br />The margins of the York medical manuscript reveals the presence of annotators who, by adding tables of contents, headings, recipes or comments, have contributed notably to give the manuscript its present form. The majority of these annotations, which were mostly written in the sixteenth century and aimed at facilitating the location of specific information, were written to find relevant recipes fast. How did they do that? By copying the heading of the remedies next to the recipes they refer to. For instance, folios number 104v and 105r show the following marginal titles (in original Middle English here) next to their corresponding remedy: ‘to do a wey here’ to remove hair; ‘for þe quarteyne’ to treat the quartan fever, i.e. an intermittent fever with attacks every third day; ‘for þe blody flyxʒe’ (called the ‘blody menysoun’ in the text) to help with the menstrual flow; ‘for bleynys in þe face’ to remove pimples or sores on the face; ‘for þe goute’ to relieve the strong pain suffered by arthritis in the bones of the haunch (called the ‘goute sciatik’ in the text); and ‘for þe morymalle’ to treat a bad sore (mormal), in this case in the leg. [1]</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-s4n_nlqKnWI/Xk6h_x9F9QI/AAAAAAAABBo/pQBH6wpwUXIPkUHX9RnzjSbze9DctKVnACNcBGAsYHQ/s1600/Pic_2_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="759" data-original-width="1096" height="221" src="https://1.bp.blogspot.com/-s4n_nlqKnWI/Xk6h_x9F9QI/AAAAAAAABBo/pQBH6wpwUXIPkUHX9RnzjSbze9DctKVnACNcBGAsYHQ/s320/Pic_2_%25284%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-93677bec-7fff-5fb1-c6f5-98cfe07c075a"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Post-medieval recipe titles in the margins (fols. 104v-105r)</span></span></span></td></tr>
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<span style="font-family: inherit;">Some of these indexing notes are of significant interest because they mention individuals who are related to the readers of the manuscript. Thus, there is a very interesting note which points to a remedy that seemed to be good for the stone or calculus that an old man called Johannes Busshy had. </span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-WEPVIlv5N5Q/Xk6ivkPoBYI/AAAAAAAABB4/7iCRvP0Z3TQhHN5G7OiQr6H_98CtjYsWwCNcBGAsYHQ/s1600/Pic_3_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="280" data-original-width="1108" height="160" src="https://1.bp.blogspot.com/-WEPVIlv5N5Q/Xk6ivkPoBYI/AAAAAAAABB4/7iCRvP0Z3TQhHN5G7OiQr6H_98CtjYsWwCNcBGAsYHQ/s640/Pic_3_%25284%2529%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b1627d8b-7fff-c819-a2cc-6a15bb7dd901"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">A marginal note (‘for þe ston þat olde Johannes busshy hath’, fol. 157v)</span></span></span></td></tr>
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<span style="font-family: inherit;">This same annotator, who was probably a medical practitioner and an early owner of the manuscript, also annotated a recipe for a long-time headache which is easily found due to a marginal manicule and a bottom-page note that reads: ‘a medicine for my wife´s headache proved true’. These annotations would have helped the reader to spot successful remedies without difficulty, whilst underlining their efficiency for future readers and owners. </span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-yHHbW6lRud8/Xk6inSEPlAI/AAAAAAAABB8/DbdlHrJvocEY5_-z1CAPqPoEviDC5cHegCEwYBhgL/s1600/Pic_4_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="509" data-original-width="844" height="240" src="https://1.bp.blogspot.com/-yHHbW6lRud8/Xk6inSEPlAI/AAAAAAAABB8/DbdlHrJvocEY5_-z1CAPqPoEviDC5cHegCEwYBhgL/s400/Pic_4_%25284%2529%255B1%255D.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-d560a168-7fff-0fa4-7bc2-0239f77fe824"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">A marginal note concerning a recipe which is also marked by a manicule (fol. 92r)</span></span></span></td></tr>
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<span style="font-family: inherit;">Other annotations were added to transcribe, translate or explain Middle English terms. A very prolific sixteenth-century annotator drew two carets at the beginning of a word that alludes to the herbe paralisis, a plant that earned this title due to its effectiveness in healing gout, paralysis and rheumatism. The annotator wrote a marginal explanatory note which indicated that paralisis was the cowslip or primrose.</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-QGN2f9iBlvY/Xk6jlYoVUNI/AAAAAAAABCI/q2IQQZXAIVkiZXnEZLRTUNdzI-w5VTtlACNcBGAsYHQ/s1600/Pic_5_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="221" data-original-width="1277" height="108" src="https://1.bp.blogspot.com/-QGN2f9iBlvY/Xk6jlYoVUNI/AAAAAAAABCI/q2IQQZXAIVkiZXnEZLRTUNdzI-w5VTtlACNcBGAsYHQ/s640/Pic_5_%25284%2529%255B1%255D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-c7913ab1-7fff-2a5b-94a9-f331739e9f4e"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: small;">An annotator explains that ‘paralisis is þe cowslope or primerose’ (fol. 87r)</span></span></span></td></tr>
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<span style="font-family: inherit;">There is a more consistent and modern annotator who marked the margins of the manuscript with notes and drawings written in pencil. At first, I suspected that these annotations may have been written by Elizabeth Brunskill, a former York Minster librarian who did a comprehensive study of the volume that includes a full transcript of the manuscript, a list of contents, and relevant bibliographical material, among other things. [2]</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JoXcvmRpAe0/Xk6jehFUL_I/AAAAAAAABCM/U6tlYp2c42YljivVdIGxd2GtmvNbf-NZQCEwYBhgL/s1600/Pic_6_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="696" data-original-width="777" height="286" src="https://1.bp.blogspot.com/-JoXcvmRpAe0/Xk6jehFUL_I/AAAAAAAABCM/U6tlYp2c42YljivVdIGxd2GtmvNbf-NZQCEwYBhgL/s320/Pic_6_%25284%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-1733703d-7fff-39a6-e41f-442507af0ca2"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: small;">Elizabeth Brunskill´s transcription of a table of contents in the York medical manuscript (Add. MSS 198, fol. 79a)</span></span></span></td></tr>
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<span style="font-family: inherit;">She also developed an analysis of the Liber de Diversis Medicinis, the source text of the third Booklet of the York medical manuscript. Brunskill compared the booklet to Margaret Ogden’s celebrated edition of the treatise and wrote some notes on the margins of her transcript. [3] Due to this exhaustive analysis of the volume and the modernity of the script, I assumed that she was responsible for the pencil annotations in the manuscript. However, it is highly unlikely that anyone took notes on the book once it entered the library. <br /><br />What seems more obvious is that whoever wrote these pencil annotations intended to gloss and transcribe words whose spelling or meaning were not easily understood. The annotator transcribed the Middle English word ‘loue ache’ as ‘lovage’, a plant in the parsley family ― normally Levisticum officinale ― used in medicine and cooking. This person also transcribed and translated the word ‘cropen’, which as glossed means ‘crept’ and appears in the heading of a recipe for a worm that is bred or crept into a man´s body. </span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-_a-lGC591io/Xk6lBA_Xh3I/AAAAAAAABCY/kWd0nM66E7YZp0FWc_YWBwq-WzV2F2Z0QCNcBGAsYHQ/s1600/Pic_7_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="183" data-original-width="1373" height="84" src="https://1.bp.blogspot.com/-_a-lGC591io/Xk6lBA_Xh3I/AAAAAAAABCY/kWd0nM66E7YZp0FWc_YWBwq-WzV2F2Z0QCNcBGAsYHQ/s640/Pic_7_%25284%2529%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-2f0a699a-7fff-3280-b9a4-8f65def71034"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">An annotator glossing the word ‘lovage’ in pencil (fol. 54r)</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-pQNb6tT_aIo/Xk6lUu31HZI/AAAAAAAABCg/LT32Um7MJfUrlcx7SbrmCXifV_ko8WMbgCNcBGAsYHQ/s1600/Pic_8_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="278" data-original-width="1204" height="146" src="https://1.bp.blogspot.com/-pQNb6tT_aIo/Xk6lUu31HZI/AAAAAAAABCg/LT32Um7MJfUrlcx7SbrmCXifV_ko8WMbgCNcBGAsYHQ/s640/Pic_8_%25284%2529%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-7bdd407c-7fff-3980-1473-44b7820a5123"><span style="color: blue; font-family: inherit; font-size: xx-small;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Cropen</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> glossed as ‘+cropen i.e. crept’ in the margins (fol. 80r)</span></span></span></td></tr>
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<b>Marginal drawings and bookmarks</b><br />
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<span style="font-family: inherit;">Alongside these marginal notes, the York medical manuscript contains several finding aids in the form of manicules, drawings of circles and crosses, illustrations and bookmarks. The annotations already discussed include a manicule and a black cross, but there are other extraordinary examples worth mentioning. For instance, there is a drawing of a tongue next to a recipe for the man who has lost his speech, or a drawing of a heart that was drawn in the middle of the word ‘palsy’ and points at oil for palsy, cold gout and other cold causes.</span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-p91rA23elkc/Xk6l68EPtxI/AAAAAAAABCs/c96i7cTeC5w1Yuqxb1Lba21IHGmrLhNdgCNcBGAsYHQ/s1600/Pic_9_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="914" height="198" src="https://1.bp.blogspot.com/-p91rA23elkc/Xk6l68EPtxI/AAAAAAAABCs/c96i7cTeC5w1Yuqxb1Lba21IHGmrLhNdgCNcBGAsYHQ/s400/Pic_9_%25284%2529%255B1%255D.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-2c84b2cc-7fff-7da5-45de-83e2ee55a8fd"><span style="font-family: "calibri" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-size: xx-small;">A marginal drawing of a tongue (fol. 22r)</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-kzCwmNJhVBI/Xk6maf1UDlI/AAAAAAAABC8/feTv0cE9TBAFKIZmcWczaD9MdG93yy6WgCNcBGAsYHQ/s1600/Pic_10_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="255" data-original-width="1120" height="90" src="https://1.bp.blogspot.com/-kzCwmNJhVBI/Xk6maf1UDlI/AAAAAAAABC8/feTv0cE9TBAFKIZmcWczaD9MdG93yy6WgCNcBGAsYHQ/s400/Pic_10_%25284%2529%255B1%255D.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-2ae1101f-7fff-d298-0c8b-d67edca5fb83"><span style="color: blue; font-family: inherit; font-size: xx-small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A drawing of a heart next to a recipe for ‘Oyle mad for palesye for cold goutys & for o</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">þir colde causys’ (fol. 156r)</span></span></span></td></tr>
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<span style="font-family: inherit;">My personal favourite, however, (which I need to include for obvious reasons!) is the dead bovine which someone drew next to a charm against the plague, or death, among cattle. This excellent illustration, which depicts the animal expiring, shows the bovine on its back breathing its last breath (look how it comes out of its mouth!) with an overhanging cloud. </span></div>
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<a href="https://1.bp.blogspot.com/-l-f4fYam2Eo/Xk6m2CAnfII/AAAAAAAABDM/m1_vl0j7ahIUtd7NbPRwCANfXbypaF36gCNcBGAsYHQ/s1600/Pic_11_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="228" data-original-width="948" height="95" src="https://1.bp.blogspot.com/-l-f4fYam2Eo/Xk6m2CAnfII/AAAAAAAABDM/m1_vl0j7ahIUtd7NbPRwCANfXbypaF36gCNcBGAsYHQ/s400/Pic_11_%25284%2529%255B1%255D.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-z9q5RELqdUc/Xk6m5CG75EI/AAAAAAAABDQ/oCZRNkoexdk70pZAEwHIIN38n02RefEiQCNcBGAsYHQ/s1600/Pic_12_%25284%252C_together_with_pic_11%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="205" data-original-width="357" height="183" src="https://1.bp.blogspot.com/-z9q5RELqdUc/Xk6m5CG75EI/AAAAAAAABDQ/oCZRNkoexdk70pZAEwHIIN38n02RefEiQCNcBGAsYHQ/s320/Pic_12_%25284%252C_together_with_pic_11%2529%255B1%255D.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-f85d0fc9-7fff-48c0-6699-b56666bc5667"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">A drawing of a dead bovine next to a charm against the plague (fol. 166r)</span></span></span></td></tr>
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<span style="font-family: inherit;">Marginal notes and illustrations are not the only finding devices in the York medical manuscript: the edges of some leaves contain bookmarkers. Unlike modern bookmarks, which consist of external elements placed amongst the pages of a book, medieval bookmarkers were made by modifying the original appearance of the folios of the manuscript. Finger-tabs, for example, were made by cutting the fore-edge of the leaf and passing the tab through the slit.</span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-FcjPvyfjhjs/Xk6nWvx-EaI/AAAAAAAABDc/DYywWHLoQ-8wmCGNPuO2jokG556sBHCOQCNcBGAsYHQ/s1600/Pic_13_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="531" data-original-width="986" height="172" src="https://1.bp.blogspot.com/-FcjPvyfjhjs/Xk6nWvx-EaI/AAAAAAAABDc/DYywWHLoQ-8wmCGNPuO2jokG556sBHCOQCNcBGAsYHQ/s320/Pic_13_%25284%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-bc27c2ea-7fff-6ca2-43c5-da66d04b6588"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: small;">A finger-tab (fol. 65)</span></span></span></td></tr>
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<span style="font-family: inherit;">There is also a thread to the fore-edge in the sixth booklet of the manuscript which might have had originally a piece of fabric or other material hanging out the page and is probably marking the opening of the Prophecies of Esdras: a text that predicted the future based on the day of the week in which Christmas day fell.</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-H73Xkr-GywU/Xk6nZUT511I/AAAAAAAABDg/2IZnVuF5jTkdHwST2C9EgzN7b4obinZ4gCEwYBhgL/s1600/Pic_14_%25284%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="205" data-original-width="351" height="186" src="https://1.bp.blogspot.com/-H73Xkr-GywU/Xk6nZUT511I/AAAAAAAABDg/2IZnVuF5jTkdHwST2C9EgzN7b4obinZ4gCEwYBhgL/s320/Pic_14_%25284%2529%255B1%255D.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-indent: 56.7333px; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">A string to mark the folio (fol. 119r)</span></span></td></tr>
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<span style="font-family: inherit;">Together with the medieval and post-medieval annotations and finding aids that have been preserved in the margins of the York medical manuscript, these bookmarks bear testimony to how the manuscript was vastly read and annotated after its production; demonstrating that the volume has been both valued and useful through the centuries.</span><br />
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<span style="font-family: inherit; font-size: x-small;">[1]</span> <span style="font-family: inherit; font-size: x-small;"><span style="color: #00000a; vertical-align: baseline; white-space: pre-wrap;">The dictionaries used to translate the medical and herbal terms have been the </span><span style="color: #00000a; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Middle English Dictionary</span><span style="color: #00000a; vertical-align: baseline; white-space: pre-wrap;"> </span><a href="https://quod.lib.umich.edu/m/middle-english-dictionary/dictionary" style="text-decoration-line: none;"><span style="color: #0563c1; vertical-align: baseline; white-space: pre-wrap;">https://quod.lib.umich.edu/m/middle-english-dictionary/dictionary</span></a><span style="color: #00000a; vertical-align: baseline; white-space: pre-wrap;"> and J. Norri, </span><span style="color: #00000a; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Dictionary of Medical Vocabulary in English , 1375-1550: Body Parts, Sicknesses, Instruments, and Medicinal Preparations</span><span style="color: #00000a; vertical-align: baseline; white-space: pre-wrap;"> (Oxon, New York: Routledge, 2016).</span></span></div>
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<span style="font-family: inherit; font-size: x-small;"><span style="color: #00000a; vertical-align: baseline; white-space: pre-wrap;">[2] </span></span><span style="color: #00000a; text-align: justify; white-space: pre-wrap;"><span style="font-family: inherit; font-size: x-small;">Her notes are in loose paper in York, York Minster Library, Add. MSS 198.</span></span></div>
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<span style="font-family: inherit; font-size: x-small;"><span style="color: #00000a; text-align: justify; white-space: pre-wrap;">[3] </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">M. S. Ogden, ed., </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">The ‘Liber De Diversis Medicinis’</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">in the Thornton Manuscript. MS. Lincoln Cathedral A.5.2</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> (London, New York and Toronto: Oxford University Press, 1969).</span></span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-43948202336463260492020-02-25T13:34:00.000+00:002020-03-04T09:18:13.715+00:00A Fifteenth-Century Medical Handbook in York Minster Library (YML, XVI. E. 32). Part 3 - a blog by Dr Rebeca Cubas-Peña<span id="docs-internal-guid-a37d8739-7fff-34ca-d7ff-a6e04c0051fd"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit; font-size: large;">Part III: Provenance</span></span></span><br />
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<b><span style="font-family: inherit;">Reverend Edward Churton: a Yorkshire donor</span></b><br />
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<span style="font-family: inherit;">According to the Liber Donorum ― a book that keeps the records of the manuscripts and printed copies given to the York Minster library until 1924 ― the manuscript was given to the Minster by a man called Reverend Edward Churton in 1843. The entry for that year reads: ‘Medicine by William de Killingholme Ms -Six sermons preached in 1582 Ms and Wiclifi Dialogis 4to (Quarto). All given by Reverend Edward Churton. Rector of Craykes’. [1]</span><br />
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<span id="docs-internal-guid-3ee87ea2-7fff-3be0-2aa2-5e800988af72"><span style="color: blue; font-family: inherit; font-size: xx-small;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Liber Donorum</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (fols. 38r, 39r)</span></span></span></div>
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<span style="font-family: inherit;">Reverend Edward Churton (1800-1874) was born at Middleton Cheney (Northamptonshire) and lived in the North Riding of Yorkshire from 1835 ―the year when Bishop Van Mildert appointed him rector of Crayke― until his death. During that time, he was Canon of York and rural Dean and Rector of Crayke in 1845, Archeadon of Cleveland from 1846 to 1874, and Prebendary of Knaresborough from 1841 to 1874. He was a theologian and Spanish scholar who was also interested in Anglo-Saxon literature, although the donations his wife made to the library on his behalf after his death indicate that his interests revolved mainly around religious matters.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-fqVA2ZMO8E4/Xk6aGJnFbKI/AAAAAAAABAs/lGOR6-_1OxoaM4B8h8XtcdZUJz5yXWJEgCNcBGAsYHQ/s1600/Pic_3_%25283%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="495" data-original-width="430" height="320" src="https://1.bp.blogspot.com/-fqVA2ZMO8E4/Xk6aGJnFbKI/AAAAAAAABAs/lGOR6-_1OxoaM4B8h8XtcdZUJz5yXWJEgCNcBGAsYHQ/s320/Pic_3_%25283%2529%255B1%255D.jpg" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-a634245e-7fff-91f2-32dd-29bab3646dfd"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Reverend Edward Churton bequeathed the manuscript to York Minster [3]</span></span></span></td></tr>
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<span style="font-family: inherit;">The library record shows that his collection was divided into ‘Manuscripts’ and ‘Printed Books’, both under the heading: ‘1874. The following works were presented to the Library by Mrs Churton, in memory of her husband Edward Churton m.a., Archdeacon of Cleveland’ (fol. 56r); the rest of the books were under ‘The Churton Gift’. Churton’s wife gave nine manuscripts to the library (including a fifteenth-century copy of the Vita Bernardi), the remainder are printed copies. According to the Liber Donorum, he donated nearly three hundred printed copies published between 1550 and 1840. They contain primarily theological and scholarly discussions in the form of tracts, dialogues, defences, testimonies and sermons.</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-WTCrv1At8Q4/Xk6ap9L2rUI/AAAAAAAABA4/6ivaltZ8oRUWsHWlIPh_RQfe7hayyJZQwCNcBGAsYHQ/s1600/Pic_4_%25283%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="651" data-original-width="482" height="320" src="https://1.bp.blogspot.com/-WTCrv1At8Q4/Xk6ap9L2rUI/AAAAAAAABA4/6ivaltZ8oRUWsHWlIPh_RQfe7hayyJZQwCNcBGAsYHQ/s320/Pic_4_%25283%2529%255B1%255D.jpg" width="236" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-0602d8fa-7fff-da7a-e0c1-4b83ed013e35"><span style="color: blue; font-family: inherit; font-size: small;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Liber donorum</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (fol. 56r)</span></span></span></td></tr>
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<span style="font-family: inherit;">He also edited a few religious and literary books, such as the minor theological works of Bishop John Pearson, or his thorough study of Góngora in Góngora: An Historical and Critical Essay on the Times of Philip III and IV of Spain, with Translations.<br /> </span><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Another good instance of Churton’s literary and theological standards can be found in a letter (YML, MS Add 651) he wrote when he was in Crayke on January 23rd, 1854. Addressed to Reverend G. C. Hodgkinson, Principal of the diocesan Training College of York, who faced a doctrinal enquiry before the Archbishop of York and Bishop of Ripon, the letter supports Reverend Hodgkinson by warning him of a man called W. Baxter, who intended to discredit him. The tone of this epistle, which finishes with a Latin sentence and allusions to the Spanish work El Curioso Impertinente and Bishop Barnet’s History of the Reformation, reveals not only his scholarly education but also his interest in Spanish literature.<br /> </span><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Apart from the York medical manuscript, no medical volume is registered amongst the books he bequeathed to the library. In fact, it seems that he did not have any connections with the medical profession, as he does not seem to have undertaken any medical courses or practice medicine, and he was no collector. Given the scholarly disposition of Churton’s father, it is possible that the manuscript was handed down to him after his father’s death. There is also a chance that he acquired the manuscript in an antiquarian bookshop ― as part of a lot of old books ― or that someone gave it to him as a gift. [4]</span><br />
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<span style="font-family: inherit;"><b>Other owners: Frauncis Acton</b></span><br />
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<span style="font-family: inherit;">An intriguing line of enquiry regarding the provenance of the York medical manuscript has to do with the fact that a volume copied in a variety of Midlands dialects ended up in Yorkshire. The most obvious and quickest hypothesis is that Churton himself brought it up north. However, the manuscript contains other two post-medieval marks of ownership worth analysing. One alludes to a Johannes breythe/brogston, who wrote his name on the top margin of the first folio of the volume in the sixteenth century and is now rather stained by reagent. Unfortunately, nothing is known about this individual.</span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-PpA1jNmOn1o/Xk6bt7YnZMI/AAAAAAAABBE/1x46XM6BHRAQomzx7qrbObJeSadaY8PQgCNcBGAsYHQ/s1600/Pic_5_%25283%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="142" data-original-width="1082" height="51" src="https://1.bp.blogspot.com/-PpA1jNmOn1o/Xk6bt7YnZMI/AAAAAAAABBE/1x46XM6BHRAQomzx7qrbObJeSadaY8PQgCNcBGAsYHQ/s400/Pic_5_%25283%2529%255B1%255D.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-a2201402-7fff-e6e5-bc8f-242a44e81a77"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Mark of ownership written by Johannes breythe/brogston (fol. 2r)</span></span></span></td></tr>
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<span style="font-family: inherit;">The other one alludes to a Frauncis Acton of the church of Stretton, who scribbled down her name upside down nearly at the end of the manuscript.</span><br />
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<a href="https://1.bp.blogspot.com/-5xEIvg404j4/Xk6cI5pcbVI/AAAAAAAABBM/woPGAt8oaO0RTqNdmma_TpqllR4c4CR1wCNcBGAsYHQ/s1600/Pic_6_%25283%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="307" data-original-width="937" height="130" src="https://1.bp.blogspot.com/-5xEIvg404j4/Xk6cI5pcbVI/AAAAAAAABBM/woPGAt8oaO0RTqNdmma_TpqllR4c4CR1wCNcBGAsYHQ/s400/Pic_6_%25283%2529%255B1%255D.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GZ_IsvxFNQE/Xk6cOcB-jaI/AAAAAAAABBQ/jSzCqv2cfy4A0PoEkcG1mD3Vkz2Cris-gCNcBGAsYHQ/s1600/Pic_7_%25283%252C_together_with_pic_6%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="109" data-original-width="995" height="43" src="https://1.bp.blogspot.com/-GZ_IsvxFNQE/Xk6cOcB-jaI/AAAAAAAABBQ/jSzCqv2cfy4A0PoEkcG1mD3Vkz2Cris-gCNcBGAsYHQ/s400/Pic_7_%25283%252C_together_with_pic_6%2529%255B1%255D.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-8cb474ad-7fff-6c1a-1892-64a2a24c0e72"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Mark of ownership written by Frauncis Acton (fol. 171v)</span></span></span></td></tr>
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<span style="font-family: inherit;">The history of the Acton family dates back at least to the fourteenth century. Several members of the family, many of them named Francis or Frances, were settled in Acton Scott, a village near Church Stretton (Shropshire). Based on the date of the script, the most plausible candidate seems to be Francis Acton (1749-1762). She was the daughter of Richard Acton, 5th Baronet of Acton, and Lady Anne Grey, and had a sister named Elizabeth. [5] She was only thirteen years old when she died, which might explain the childish appearance of her script. Considering that her sister married a Yorkshire Esquire named Philip Langdale, a possible explanation might be that the couple took the manuscript with them up north after their marriage, where presumably Churton acquired it somehow. This might clarify how a manuscript that was probably still in the Midlands, more particularly in Shropshire, by the eighteenth century ended up in York Minster Library in 1843.</span><br />
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<span style="font-family: inherit; font-size: x-small;">[1] J. Raine, A Catalogue of the Printed Books in the Library of the Dean and Chapter of York (York: John Sampson, 1896). The book also records later entries in loose pieces of paper. Electronic access to a digitized version of the Liber Donorum is available via the University of York library catalogue (item permalink https://yorsearch.york.ac.uk/permalink/f/1d5jm03/44YORK_ALMA_DS21268468450001381).</span><br />
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<span style="font-family: inherit; font-size: x-small;">[2]</span><span style="font-family: inherit; font-size: x-small;"> The information concerning Churton’s life has been taken from the Oxford Dictionary of National Biography.</span></div>
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<span style="font-family: inherit; font-size: x-small;">[3] </span><span style="font-family: inherit; font-size: x-small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Photo taken from </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Project Canterbury</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> <</span><a href="http://anglicanhistory.org/england/echurton/" style="text-decoration-line: none;"><span style="color: #0563c1; vertical-align: baseline; white-space: pre-wrap;">http://anglicanhistory.org/england/echurton/</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">></span></span></div>
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<span style="font-family: inherit; font-size: x-small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">[4] </span></span><span style="font-family: inherit; font-size: x-small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">The idea of the antiquarian bookshop was kindly suggested by Caitlin Henderson in private correspondence: C. Henderson, </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">‘For the ston that olde John Busshy hathe’: An Analysis of the Codicology and Marginalia of William Leech of Killingholme’s Medical Manual, York Minster Library XVI E. 32</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> (unpublished master’s thesis, University of York, Centre for Medieval Studies, 2014).</span></span></div>
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<span style="font-family: inherit; font-size: x-small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">[5] </span></span><span style="font-family: inherit; font-size: x-small;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">Cracroft’s Peerage: The Complete Guide to the British Peerage & Baronetage</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> </span><a href="http://www.cracroftspeerage.co.uk/online/content/actonb1643.htm?zoom_highlight=john+mhor+macdonald" style="text-align: justify; text-decoration-line: none;"><span style="color: #0563c1; vertical-align: baseline; white-space: pre-wrap;">http://www.cracroftspeerage.co.uk/online/content/actonb1643.htm?zoom_highlight=john+mhor+macdonald</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">; </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">The National Archives</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> </span><a href="http://discovery.nationalarchives.gov.uk/details/rd/52b8ee1e-f792-4d03-8450-1fc985788bca" style="text-align: justify; text-decoration-line: none;"><span style="color: #0563c1; vertical-align: baseline; white-space: pre-wrap;">http://discovery.nationalarchives.gov.uk/details/rd/52b8ee1e-f792-4d03-8450-1fc985788bca</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">.</span></span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-13545749614323882672020-02-25T13:32:00.001+00:002020-03-04T09:17:48.263+00:00A Fifteenth-Century Medical Handbook in York Minster Library (YML, XVI. E. 32). Part 2 - a blog by Dr Rebeca Cubas-Peña<h2 style="text-align: center;">
<span style="font-family: inherit; font-size: small;">Part II: Contents</span></h2>
<span style="font-family: inherit;"><b>Collections of herbal recipes and charms</b></span><br />
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<span style="font-family: inherit;">The York medical manuscript is composed of a series of therapeutic texts intended to restore to health by treating diseases or conditions. The majority of these texts are collections of herbal recipes or receptaria which, in the form of plasters, ointments, syrups, powders or waters (amongst others), present a number of treatments to cure various ailments such as headaches, gout or epilepsy. Herbs, gems and metals tend to be the main ingredients of these remedies that, for the most part, date back to classical times and follow a head to heel sequence, traditionally known as a capite ad calcem order.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-0wKdNoSm8Xs/XkurAFuKmmI/AAAAAAAAA-c/acODDXlyIwcj1pYokEArrpoy6o9birx7QCNcBGAsYHQ/s1600/Pic_1_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="635" data-original-width="972" height="209" src="https://1.bp.blogspot.com/-0wKdNoSm8Xs/XkurAFuKmmI/AAAAAAAAA-c/acODDXlyIwcj1pYokEArrpoy6o9birx7QCNcBGAsYHQ/s320/Pic_1_%25282%2529%255B1%255D.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-e42217d8-7fff-2430-7b56-18f21b5e7e7e"><span style="font-family: "calibri" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-size: xx-small;">Collection of recipes (fols. 89v-90r)</span></span></span></td></tr>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; text-indent: 28.35pt; vertical-align: baseline;"><span id="docs-internal-guid-076510eb-7fff-1d50-f5a1-f69bde92adff"><span style="font-family: inherit;">Generally, recipes are rather formulaic: </span></span></span></div>
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<ol><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; text-indent: 28.35pt; vertical-align: baseline;"><span style="font-family: inherit;">
<li><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; text-indent: 28.35pt; vertical-align: baseline;"><span style="font-family: inherit;">They have a heading that points to the illness or condition the remedy is supposed to heal: e.g. For gout that is in the bones; for an abscess in a woman´s breast.[1]</span></span></li>
<li><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; text-indent: 28.35pt; vertical-align: baseline;"><span style="font-family: inherit;">A list of the plants, minerals and animal or chemical ingredients needed: e.g. Take the grease of sheep tallow, the juice of the celery, the juice of the willow, the root and leaves of belladonna and unused wax.</span></span></li>
<li><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: justify; text-indent: 28.35pt; vertical-align: baseline;"><span style="font-family: inherit;">The measures and weights required: e.g. Take an ounce of parsley, an ounce of olive oil, two ounces of storax, two ounces and a half of calamint, half an ounce of both mastic and frankincense and two ounces and a half of gum Arabic.</span></span></li>
<li>The instructions to follow in order to prepare the remedy: e.g. And then boil everything (the ingredients in 2) in a pan and when they are well-boiled put them in a cloth and then in an ointment box. </li>
<li>Details about its administration (amount, frequency, right time, duration) and storage: e.g. put it in a cloth and in the evening when you go to bed put it in your ear; drink for four days or more if you have need and it shall pass through your anus; eat a spoonful in the morning and another in the evening.</li>
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</span><span style="font-family: inherit;">Irrational and superstitious as it may sound, herbal remedies were copied along with charms and prayers. Charms were frequently prescribed to treat episodic illnesses and were an important part of the healing process, as by invoking the help of saints and martyrs, practitioners were appealing to divine intervention.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GyLEB7-6O5E/XkusbUXl_DI/AAAAAAAAA-o/ikP9rwKFQzYJAcGmvKHpc5MzWYSd8BDAwCNcBGAsYHQ/s1600/Pic_2_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="590" data-original-width="876" height="215" src="https://1.bp.blogspot.com/-GyLEB7-6O5E/XkusbUXl_DI/AAAAAAAAA-o/ikP9rwKFQzYJAcGmvKHpc5MzWYSd8BDAwCNcBGAsYHQ/s320/Pic_2_%25282%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-108c0e38-7fff-2a02-d327-ed57eed8fce0"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">A charm (fols. 128v-129r)</span></span></span></td></tr>
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<span style="font-family: inherit;">Hence, a remedy to heal a wound involved the preparation of an ointment and the enchantment of a plate of lead:<br /><br />‘Medicine true to heal the wound of a man if he is not wounded to death. Make five crosses in a plate of lead: a cross in every corner and a cross in the middle. During the mass say one Our Father and one Hail Mary for each cross to honour the Five Wounds of our Lord Jesus Christ. Then lay the plate above the wound and say thus: as truly as the wounds of our Lord Jesus Christ didn´t rankle, fester or stink, this wound has no power to rankle, fester or stink, but make it heal thoroughly by the will of our Lord Jesus Christ. In the name of the Father, the Son and the Holy Ghost. Amen. Say three Our Fathers three Hail Marys in the name of the Father and Son and the Holy Ghost. Ask the one who is hurt to say three Our Fathers and three Hail Marys to the one who is in control in the name before said, and make sure the plate does not touch the earth once it is charmed. Lay it on the wound for three days without haste and after the third day take the juice of madder and wash the wound and lay the lead on it until it is healed, and if it stinks lay it above. This is a good ointment’ (fols. 128v-129r).</span><br />
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<span style="font-family: inherit;">Charms were often accompanied by drawings of crosses which appear normally between the names of the saints. In all probability, practitioners were expected to make the sign of the cross to their patients, either on their bodies or in the air, when they encountered these crosses, as the priest did in church. [2] The repetition of the saints’ names and the touching of the skin when making the sign possibly created a soothing and relaxing, and therefore curative effect on the patient. [3] Unfortunately, many of these crosses were scratched out from medieval manuscripts during the Reformation.</span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-AdWO3Zg29Qg/XkutHwK4XJI/AAAAAAAAA-w/j4GFnM6UujQoISsGKoYr9VJgSlf5UnxHQCNcBGAsYHQ/s1600/Pic_3_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="727" data-original-width="536" height="320" src="https://1.bp.blogspot.com/-AdWO3Zg29Qg/XkutHwK4XJI/AAAAAAAAA-w/j4GFnM6UujQoISsGKoYr9VJgSlf5UnxHQCNcBGAsYHQ/s320/Pic_3_%25282%2529%255B1%255D.jpg" width="235" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-d39d3b39-7fff-6907-8b23-4eadc0affc23"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Crosses in charms crossed out by a later reader (fol. 142v)</span></span></span></td></tr>
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<span style="font-family: inherit;"><b>Sphere of Life and Death</b><br /><br />The York medical manuscript also contains other texts to prognosticate and diagnose diseases and their outcomes. As they were not particularly academic, they would have been very helpful to any medical practitioner. [4] One of these prognostic texts is the Sphere of Life and Death, also known as the Sphere of Pythagoras or the Sphere of Apuleius.</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-lbz-sio-k_c/XkuuGoQRbFI/AAAAAAAAA-8/g_Ycq5rvQ5EyPQ4OsLHG0M4BMjm4roD_wCNcBGAsYHQ/s1600/Pic_4_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="675" data-original-width="914" height="236" src="https://1.bp.blogspot.com/-lbz-sio-k_c/XkuuGoQRbFI/AAAAAAAAA-8/g_Ycq5rvQ5EyPQ4OsLHG0M4BMjm4roD_wCNcBGAsYHQ/s320/Pic_4_%25282%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b37d82f6-7fff-b28b-2cf3-6d1c169d7010"><span style="font-family: inherit; font-size: small;"></span></span><br />
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<span id="docs-internal-guid-b37d82f6-7fff-b28b-2cf3-6d1c169d7010"><span style="font-family: inherit; font-size: small;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue;">Sphere of Life and Death (fols. 6v-7r)</span></span></span></span></div>
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<span style="font-family: inherit;">As with other examples of onomancy, [5] the sphere of Pythagoras was used to prognosticate by numbers which correlated with the letters of the individual’s name. Spheres tended to be divided into two hemispheres: one which represented the lucky numbers that would bring fortune to the person involved ― normally the one on the top ― and another hemisphere which predicted disastrous outcomes ― normally situated below. [6] It was frequently used to know whether a patient would live or die ― hence its name ― but it was also employed to anticipate events such as which contender would win a battle or whether a lost object would be found: essentially questions which needed an affirmative or negative answer.</span><br />
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<span style="font-family: inherit;"><b>Chiromancy</b><br /><br />The York medical manuscript holds another evocative diagram used to prognosticate, a chiromancy chart. Chiromancies or palmistries were treatises used to predict the future and interpret an individual’s character and disposition by reading the lines in the palm of his or her hands. These treatises were often accompanied by the drawing of a hand whose fingers were filled with informative captions. The diagram in here is not supported by a treatise but it is followed by a tract which describes bodily characteristics and their importance.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-SG8ZJ35ZZZs/Xkuvo3Gk89I/AAAAAAAAA_I/0PzMwuCGdMYsDwmWM__dBQx6xm-3A-ubgCNcBGAsYHQ/s1600/Pic_5_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="677" data-original-width="957" height="226" src="https://1.bp.blogspot.com/-SG8ZJ35ZZZs/Xkuvo3Gk89I/AAAAAAAAA_I/0PzMwuCGdMYsDwmWM__dBQx6xm-3A-ubgCNcBGAsYHQ/s320/Pic_5_%25282%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-6b410d61-7fff-adfd-5218-d98f1e43ebb2"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Chiromancy diagram (fols. 122v-123r)</span></span></span></td></tr>
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<span style="font-family: inherit;">It depicts a left male hand with interpretations of the lines of its fingers written in Middle English, as seen in the index finger which reads: ‘This cross honours and worships, this betokens wound in the head’; or in the space between the index and the middle fingers: ‘if the midward line touches these fingers, that suggests death of a wound’.</span><br />
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<span style="font-family: inherit;"><b>Bloodletting-zodiac man</b><br /><br />Medieval practitioners thought that the human body, and by extension the human mind, was a microcosm which, besides being contained in the macrocosm (also known as cosmos or universe), functioned parallel to it. The macrocosm was composed of four elements (water, fire, earth and air) and qualities (dryness, moistness, heat and cold), which corresponded to four bodily humours (phlegm or mucus, yellow bile or choler, black bile and blood). The supremacy of a humour over the rest resulted in a marked definition of the individual’s temperament, who could be ultimately melancholic, phlegmatic, sanguine or choleric. [7] An imbalance of the humours resulted in sickness, and required methods like bloodletting to restore the patient’s corporal equilibrium.</span><br />
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<span id="docs-internal-guid-c5703eba-7fff-32a5-bf4b-4a71ca28df86"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-V2Iq0FuH1cg/XkuwPIOyWGI/AAAAAAAAA_Q/g25RLVHtbX07VrdWparSSE2MooOqstXCwCNcBGAsYHQ/s1600/Pic_6_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="674" data-original-width="1004" height="214" src="https://1.bp.blogspot.com/-V2Iq0FuH1cg/XkuwPIOyWGI/AAAAAAAAA_Q/g25RLVHtbX07VrdWparSSE2MooOqstXCwCNcBGAsYHQ/s320/Pic_6_%25282%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b7180b15-7fff-aa07-9e04-e32f8c0b2c35"></span><br />
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<span id="docs-internal-guid-b7180b15-7fff-aa07-9e04-e32f8c0b2c35"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">Bloodletting-zodiac man and an astrological diagram (fols. 109v-110r)</span></span></span></div>
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<span style="font-family: inherit;">Knowing when to bleed the sick was an essential part of the treatment, since otherwise the patients’ lives could be put at risk. For that reason, celestial bodies had to be considered before applying a treatment. That’s where the bloodletting-zodiac man comes in. The bloodletting-zodiac man is an anthropomorphic figure that provides information about bloodletting procedures by depicting in a single diagram what is normally illustrated in two. The bloodletting man shows how the veins had to be cut in order to cure an ailment. Thus, an arrow that points at its right ear comes with this caption: ‘behind the ear for old sicknesses’; or another caption, whose arrow points at the neck, states: ‘for a pustule in the neck’. The zodiac man, on the other hand, indicates the parts of the body that could not be bled when the moon was in relation to their specific zodiac houses. For instance, it was not recommended to bleed a patient´s chest under Leo´s influence.</span></span></div>
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<b><span style="font-family: inherit;">Uroscopy or urine treatise</span></b><br />
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<span style="font-family: inherit;">Medieval practitioners also believed that they could diagnose and determine the evolution of an illness by looking at the patient’s urine, more particularly at its colour, odour, consistency, viscosity, sediments, or even taste. They identified and diagnosed different ailments with the help of uroscopies or urine treatises, which provided information about the various colours of the urines and how to interpret them. <br /><br />Urine treatises indicate how a particular symptom betokens a specific ailment. The uroscopy in the York medical manuscript, for example, notes that ‘pale urine in men suggests bowel issues; in women indicates damage to the womb’; or ‘urine red as a rose indicates fever and if he (the patient) pisses continually it indicates the fever continuande’ (a remittent fever said to be caused by the putrefaction of the humours).</span> </div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-eWyxRq1m0Eo/Xkuw6soXmyI/AAAAAAAAA_g/0AE9tT_mpUgGDtoU1DqusZmAnjRZ-jgSQCNcBGAsYHQ/s1600/Pic_7_%25282%2529%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="740" data-original-width="1056" height="224" src="https://1.bp.blogspot.com/-eWyxRq1m0Eo/Xkuw6soXmyI/AAAAAAAAA_g/0AE9tT_mpUgGDtoU1DqusZmAnjRZ-jgSQCNcBGAsYHQ/s320/Pic_7_%25282%2529%255B1%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-469a5953-7fff-62fe-56eb-65c461947f95"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: blue; font-family: inherit; font-size: xx-small;">A urine wheel (fols. 166v-167r)</span></span></span></td></tr>
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<span style="font-family: inherit;">This uroscopy is supported by a urine wheel that connects the urine colours with their corresponding interpretations. Thus, two flasks on the top of the wheel, which are yellow and bluish in colour and are described as ‘reddish colour of urine as pure gold’ and ‘reddish colour of a clear gold’ respectively, are connected to a caption in the centre of the wheel that reads: ‘these two urines indicate a perfect digestion’. </span><br />
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<span style="font-family: inherit;"><span style="font-size: x-small;">[1] All examples translated by the author.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: x-small;"><br />[2] E. Duffy, ‘Charms, Pardons and Promises: Lay Piety and “Superstition” in the Primers’, in The Stripping of the Altars. Traditional Religion in England c. 1400-c. 1580 (New Haven & London: Yale University Press, 1992), pp. 266-298 (p. 266).</span></span></div>
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<span style="font-size: x-small;">[3]</span><span style="font-family: inherit; font-size: x-small;"> I owe this idea to Dr. Irina Metzler, who reminded me of traditional healing practices in Catholic communities.</span></div>
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<span style="font-size: x-small;">[4] </span><span style="font-family: inherit; font-size: x-small;">The texts mentioned in here are a selection and have been chosen by their spectacular diagrams.</span></div>
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<span style="font-size: x-small;">[5]<span style="font-family: inherit;"> </span></span><span id="docs-internal-guid-f72381f8-7fff-3b8e-f0a7-41522beca36b"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit; font-size: x-small;">A form of divination that involved the letters of a name.</span></span></span><br />
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<span style="font-family: "calibri" , sans-serif; font-size: 10pt; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">[6] </span><span style="font-size: x-small;"><span style="font-family: "calibri" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">For further details, see Dr Jo Edge’s work. In this podcast she talks about the medical context of the Sphere of Life and Death in late medieval England: </span><a href="https://backdoorbroadcasting.net/2012/05/jo-edge-the-medical-context-of-the-sphere-of-life-and-death-in-late-medieval-england/" style="text-decoration-line: none;"><span style="color: #0563c1; font-family: "calibri" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">https://backdoorbroadcasting.net/2012/05/jo-edge-the-medical-context-of-the-sphere-of-life-and-death-in-late-medieval-england/</span></a><span style="font-family: "calibri" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">.</span></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">[7] </span><span style="font-family: "calibri" , sans-serif; font-size: 10pt; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">For further details, see C. Rawcliffe, </span><span style="font-family: "calibri" , sans-serif; font-size: 10pt; font-style: italic; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">Sources for the History of Medicine in Late Medieval England</span><span style="font-family: "calibri" , sans-serif; font-size: 10pt; text-align: justify; vertical-align: baseline; white-space: pre-wrap;"> (Michigan: Western Michigan University, 1998) or </span><a href="https://www.encyclopedia.com/medicine/anatomy-and-physiology/anatomy-and-physiology/humours" style="text-align: justify; text-decoration-line: none;"><span style="color: #0563c1; font-family: "calibri" , sans-serif; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">https://www.encyclopedia.com/medicine/anatomy-and-physiology/anatomy-and-physiology/humours</span></a><span style="font-family: "calibri" , sans-serif; font-size: 10pt; text-align: justify; vertical-align: baseline; white-space: pre-wrap;">. </span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-43730731194028960242020-02-25T13:31:00.000+00:002020-03-04T09:17:32.611+00:00A Fifteenth-Century Medical Handbook in York Minster Library (YML, XVI. E. 32). Part 1 - a blog by Dr. Dr Rebeca Cubas-Peña<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><b>Part I: General description</b></span><br />
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<span style="font-family: inherit;">York Minster Library is the largest cathedral library in the UK.<span style="font-family: inherit;"> <span style="background-color: white;">It accommodates more than 90,000 printed works on various subjects that range from theology and ecclesiastical history, arts and architecture to other non-religious topics, notably playbills and books and pamphlets on York and Yorkshire history. </span></span>Its 250 medieval manuscripts are unsurprisingly religious; however, like the rest of the collection, they cover other matters too, including medicine. The Minster collection houses a reasonable number of medical books, including two late medieval manuscripts: York, York Minster Library, XVI. O. 10 and York, York Minster Library, XVI. E. 32.</span><br />
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<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">York Minster Library, XVI. O. 10 was written in the fifteenth century and contains a collection of medical and culinary recipes. The forty-three folios that comprise this manuscript were described and examined in a work entitled ‘A Medieval Book of Herbs and Medicine’ written by Elizabeth Brunskill, a former library assistant, and from which a copy is held in York Minster Library´s Special Collections. [1]</span><br />
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<span style="font-family: inherit;">York Minster Library, XVI. E. 32, or the York medical manuscript as it will be called hereafter, is a fifteenth-century compilation composed of a series of therapeutic texts intended to cure diseases or conditions. The majority of these texts are collections of herbal recipes which offer a number of treatments to cure various maladies. It also contains other practical texts which a medical practitioner would have found very useful to treat, diagnose and prognosticate diseases and their outcomes, including bloodletting instructions, herbals, or a urine treatise. These texts, which will be further described in later posts, were believed to be medical in the Middle Ages and were copied in little books called ‘booklets’.</span><br />
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<span style="font-family: inherit;"><br />Booklets were independent textual and formal units that had meaning in themselves and could be put together to form books or larger compilations. This was a rather common practice when making books in late medieval England, since medieval manuscripts were composed of folios ― made of parchment [2] or paper ― that were bound together to form quires or gatherings which were in turn bound together to form books or booklets. Thus, the York medical manuscript is composed of a hundred and seventy-four folios, distributed into twenty-one quires and ten independent booklets, which are covered by six flyleaves or endleaves added to protect the text from worming or damage to the binding [3].<br /> </span><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">The palaeographical features of its ten booklets show that they were copied by various scribes from the last quarter of the fourteenth century to the fifteenth century. Seeing that the compilation does not contain any sixteenth-century writings but does contain marginal annotations which date to the early sixteenth century all through the manuscript, it is likely that the volume was put together by its compiler around 1500.<br /> </span><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">The spine of its nineteenth-century binding attributes the book to a William of Killingholme and suggests that it was produced in 1412: ‘MEDICINE. by WILL: DE KILINGHOLME AD MCCCCXII’.</span><span style="font-family: inherit;"><br /></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: "calibri" , sans-serif; font-size: xx-small; white-space: pre-wrap;">Spine of the manuscript with a title that ascribes the codex to William Killingholme</span></td></tr>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: white;">The name of the alleged author was possibly taken from an ascription to a</span><span style="background-color: white; line-height: 17.12px;"> ‘M<i>agister Willelmus leche de Kylingholme’</i></span><span style="background-color: white;"> in the fourth booklet of the </span><span style="background-color: white; line-height: 17.12px;">manuscript (fol. 109v). </span></span> [4]. There is nothing in the manuscript which indicates that it was written in 1412; and even if there was, establishing the exact date of production of a volume that is composed of several separate booklets copied at different times seems out of place. It is possible, however, to infer the date of production of some texts by their content. For instance, the list of kings that opens the book (fol. 2) was probably written between 1413 and 1422 under Henry V’s reign, as this is the last king mentioned in this questionable list which names the English monarchs from Alfred the Great to Henry IV and the number of years they reigned.</span><br />
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<span style="font-family: inherit;">The majority of the booklets in the York medical manuscript are in good condition and have abundant marginal space, although a number of folios have been obscured by reagent. This was a former practice to improve the legibility of parts that were difficult to read and consisted of applying a series of chemicals to the manuscript, normally gallic acid, potassium bisulfate, an alternation of hydrochloric acid and potassium cyanide, and more frequently, hydrophosphate of ammonia [5].</span><br />
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<span style="font-family: inherit;">Being produced in a period when medical texts written in English spread through the country, the York medical manuscript is mostly, though not exclusively, written in Middle English ― the dominant language in England from the twelfth to the fifteenth centuries. The manuscript, which shows a variety of Midlands dialects (Shropshire, Herefordshire, Leicestershire, Derbyshire, and Nottinghamshire), holds a number of recipes and charms in Latin, and a charm in Anglo-Norman ― the French spoken in Britain after the Norman Conquest. Medical manuscripts written in the three languages were not uncommon in late medieval England: Latin was still the European lingua franca amongst scholars, Anglo-Norman became an important written language after the arrival of the Normans, and the production of texts copied in English increased.<br /> </span><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">The fact that the manuscript was copied primarily in English and contains practical, medical texts suggest that the book was probably commissioned or made for the use of a medical practitioner with a basic knowledge of Latin. Otherwise who else would be interested in acquiring a manuscript composed exclusively of medical writings? Higher layers of society, especially the new emergent gentry, commissioned works on various topics written in English in late medieval England, including medical texts. However, the compilations owned by this social class have shown to be varied, with a special interest in medieval romances and devotional texts.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Like modern doctors have vademecums and other medical books in the shelves of their surgeries, medieval medical practitioners owned rather specialised medical books. A minor group of physicians, who due to their high tariffs took care of royal and noble households, were university-trained and Latin literate therefore could own and commission works both in vernacular and Latin. Most medical practitioners, however, would have worked in the country and treated the majority of the population. These rural medical practitioners did not attend university: they acquired their medical knowledge through apprenticeship along with an elementary level of Latin. It is unlikely, thus, that these practitioners owned the complex, Latinate works used by university physicians. They most likely commissioned and owned books, which like the York medical manuscript, were composed of uncomplicated medical texts produced in English. As a matter of fact, it is my belief that the York medical manuscript was not only originally owned, but also compiled, by a rural medical practitioner who determined the position of the quires in the manuscript by means of quire annotations [6].</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: "calibri" , sans-serif; font-size: xx-small; white-space: pre-wrap;">Quire annotation: ‘quaternus 6 in 10 folios’ (fols. 57v-58r)</span></td></tr>
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<span style="color: #00000a; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-fb0897ad-7fff-df17-a98d-3e03699ba220"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="color: black; vertical-align: baseline;"><br />[1]. E. Brunskill, ‘A Medieval Book of Herbs and Medicine’, North Western Naturalist, I (1953), pp. 9-17, 177-89, 353-69. This work is divided into three parts published in March, June and September 1953. You can book an appointment to see Brunskill’s work (Yorkshire Pamphlets SC Pamph Box 64/3) or any other item from York Minster´s Special Collections or Archives at </span><a href="mailto:collections@yorkminster.org" style="text-decoration-line: none;"><span style="color: #0563c1; vertical-align: baseline;">collections@yorkminster.org</span></a><span style="color: #1f497d; vertical-align: baseline;">.</span></span></span></span></div>
<span style="color: #1f497d; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; vertical-align: baseline; white-space: pre-wrap;">[2].</span><span style="color: #00000a; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; white-space: pre-wrap;"> Parchment was the name given to the animal skin, more particularly goat and sheep skin, that was prepared as a material on which to write or/and paint.</span><br />
<span style="font-size: x-small;"><span style="color: #00000a; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">[3]. </span><span style="color: #00000a; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> For a better understanding of how to make medieval manuscripts, see these videos from the Getty Museum and the Fitzwilliam Museum: </span><a href="https://www.youtube.com/watch?v=HKBJkf2xbqI" style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><span style="color: #0563c1; vertical-align: baseline;">https://www.youtube.com/watch?v=HKBJkf2xbqI</span></a><span style="color: #00000a; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;"> and </span><a href="https://www.fitzmuseum.cam.ac.uk/pharos/sections/making_art/index_manuscript.html" style="font-family: arial, helvetica, sans-serif; white-space: pre-wrap;"><span style="color: #0563c1; vertical-align: baseline;">https://www.fitzmuseum.cam.ac.uk/pharos/sections/making_art/index_manuscript.html</span></a><span style="color: #00000a; font-family: "arial" , "helvetica" , sans-serif; vertical-align: baseline; white-space: pre-wrap;">. As it is an interactive video, you will need the Flash 6 plugin for the second one, which you can download for free in the museum´s page. </span></span><br />
<span style="font-size: x-small;">[4]. There is a transcription of the fourth booklet of the York medical manuscript in my MA dissertation: R. Cubas-Peña, A Collection of Medical Recipes in York Minster Library, MS. XVI. E. 32 (unpublished master’s thesis, University of York, Centre for Medieval Studies, 2009). </span><br />
<span style="font-size: x-small;">[5]. R. Clemens and T. Graham, Introduction to Manuscript Studies (Ithaca & London: Cornell University Press, 2007), p. 104.</span><br />
<span style="font-size: x-small;">[6]. For further details, see my doctoral thesis: R. Cubas-Peña, ‘Every Practitioner his own Compiler’: Practitioners and the Compilation of Middle English Medical Books with Special Reference to York Minster Library, XVI. E. 32 (Unpublished doctoral thesis, University of Birmingham, 2017).</span><br />
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-26890290873508778922019-10-24T09:00:00.000+01:002019-10-24T09:00:08.497+01:00Open for whom?The theme of this year's International Open Access Week is 'Open for whom?'. <b>Thom Blake</b> writes about models for achieving open access and how we can ensure equity.<br />
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<a href="https://torange.biz/one-ventilator-closed-glass-side-door-red-open-51746" style="font-size: 12.8px;">A red door one side open with glass ventilator one closed</a></div>
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<span style="font-size: 12.8px;">by torange.biz, </span><a href="https://creativecommons.org/licenses/by/4.0/" style="font-size: 12.8px; text-align: right;">CC BY</a><span style="font-size: 12.8px;"> </span></div>
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The economies of scholarly publishing may not be something that most people spend a lot of time thinking about, but whether you need access to resources for your own research, are publishing research yourself, or benefit from the results of research - so, everyone - the effectiveness of scholarly communication systems is important to you. The ever-increasing role of digital technologies in the communication of research has led to many changes and innovations and one of them is an increased emphasis on open access to research outputs; ensuring that they are available to anyone across the globe with an internet connection without financial barriers and with minimal technical and legal barriers. But it’s a shift that needs reflection; how can we be sure that the new models of research communication that emerge don’t replicate the inequalities of previous models, or bring about inequalities of their own? Ensuring equity in Open Access has, in one form or another, been the theme of International Open Access Week for the past two years, but how researchers, libraries, publishers and research funders will work together to shape this ecosystem in a way that is both equitable and sustainable remains to be seen.<br />
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The rise of the APC</h3>
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For many - in the UK at least - open access publishing has become almost synonymous with an article/book processing charge (APC/BPC) model. This is a ‘pay-to-publish’ model where authors, their research funders, or their institutions pay a fee to the publisher in return for their work being published as open access. The 2012 ‘Finch report’ - <a href="http://www.researchinfonet.org/publish/finch/">Accessibility, sustainability, excellence: how to expand access to research publications</a> - set UK national policy firmly in the direction of publication charges as the route for increasing access to publicly funded research.<br />
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For the advantages that the APC/BPC model brings, there are drawbacks. There is a risk that an inequality in who can access research outputs is replaced by an inequality in who can afford to publish their work and where. At the University of York we receive funding from a number of research funders to cover the cost of publishing the research they fund - the <a href="https://www.york.ac.uk/library/info-for/researchers/open-access/yoaf/">York Open Access Fund</a> - but universities, in general, are not in a position to pay publication fees for all of the research done under their auspices. While some researchers are able to reimburse publication costs from research grants, this certainly isn’t the case for everyone. Most open access publishers offer some form of fee assistance or publication charge waiver for those that cannot afford to pay, especially from lower-income countries, but this does feel more like a sticking plaster than a long-term solution.<br />
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Hybrid publications initially seemed like a potential solution. In the hybrid model, those that can afford to pay for open access can do so, but those that can’t afford it don’t have to. But with higher publications charges, fear that libraries are being charged twice for the same content ('double-dipping'), a lack of discoverability, and concerns over the long-term effects on the scholarly publishing environment (Rettberg, 2018, <a href="https://www.openaire.eu/blogs/the-worst-of-both-worlds-hybrid-open-access">The worst of both worlds: Hybrid Open Access</a>) hybrid is out of favour. In <a href="https://www.coalition-s.org/">Plan S</a> - the new open access policy framework from Science Europe to which <a href="https://www.ukri.org/">UK Research and Innovation</a> is a signatory - hybrid publication are not seen as a viable route to open access. <a href="https://wellcome.ac.uk/funding/guidance/open-access-policy">The Wellcome Trust has announced that from 2021 they will no longer support open access in hybrid publications</a>, and other research funders are sure to follow suit. <br />
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<h3>
Transition?</h3>
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<i style="font-size: 12.8px;">Open or Closed</i><span style="font-size: 12.8px;"> by Alan Levine, </span></div>
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<span style="font-size: 12.8px;"><a href="https://www.flickr.com/photos/cogdog/8223240010">https://www.flickr.com/photos/cogdog/8223240010</a>, </span><a href="https://creativecommons.org/licenses/by/4.0/" style="font-size: 12.8px;">CC BY</a><span style="font-size: 12.8px;">.</span></div>
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What Plan S does support is the ‘transitional agreement’. Under these agreements, support for hybrid publishing can continue as long as an arrangement is in place that provides a route for a journal to ‘flip’ to an open access model within an agreed timescale and for libraries to transition from paying subscriptions to funding open access publication. The most common transitional model emerging is ‘read-and-publish’, in which a single institutional subscription allows members of that institution to access subscription content in a publication, and allows authors affiliated to the institution to publish their own work as open access for no additional cost. On our website we maintain a <a href="https://www.york.ac.uk/library/info-for/researchers/open-access/yoaf/oadeals/">list of open access memberships available to York researchers</a>.<br />
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At a local level, read-and-publish style agreements provide a useful solution to the equity problem; any member of the University can take advantage of the ‘free’ open access publishing irrespective of career stage or research funding. At a global level, however, these agreements may prove more problematic. If the ambitions of Plan S are successful in ‘flipping’ prestigious publications to an open access model, where does this leave those researchers not affiliated to a subscribing institution? What about authors from less research-intensive universities? What about researchers from lower-income countries who may find themselves locked out of the publishing structure? One of the key societal benefits often claimed for Open Access is a levelling of the playing field for researchers in low-income countries (Tennant <i>et al</i>., 2019, <a href="https://doi.org/10.12688/f1000research.8460.3">The academic, economic and societal impacts of Open Access: an evidence-based review</a>) but the potential is there for the opposite effect. <br />
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Self-archiving?</h3>
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Another way for researchers to meet the requirements of <a href="https://www.coalition-s.org/">Plan S</a> is through deposit of their accepted manuscripts to a repository, something that researchers already do to meet the open access requirements for the <a href="https://www.ref.ac.uk/">Research Excellence Framework (REF)</a>. All researchers at the University of York can <a href="https://www.york.ac.uk/library/info-for/researchers/open-access/deposit/">deposit the outputs of their research</a> to our institutional repository, <a href="https://eprints.whiterose.ac.uk/">White Rose Research Online</a>. <a href="https://v2.sherpa.ac.uk/opendoar/">The Directory of Open Access Repositories (OpenDOAR)</a> lists over 4,000 repositories and many, such as the EU’s <a href="https://zenodo.org/">Zenodo</a>, do not require an institutional affiliation to deposit.<br />
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But for published outputs deposit to a repository requires the agreement of the publisher. <a href="https://www.coalition-s.org/">Plan S</a> sets a standard of immediate open access under a Creative Commons CC-BY licence and while <a href="https://royalsociety.org/journals/authors/open-access/">Royal Society may have adjusted it’s policy to meet this requirement</a> it's uncertain how many other publishers will follow suit. If, in the face of <a href="https://www.coalition-s.org/">Plan S</a>, publisher’s choose to flip to a pay-to-publish model, the potential of repositories to provide equitable open access might be diminished.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://commons.wikimedia.org/wiki/File:Human_castle.jpg">Human castle</a>, by Nancy Leon, <a href="https://creativecommons.org/licenses/by/3.0/deed.en">CC BY</a></td></tr>
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<h3>
Or collaboration?</h3>
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Of course, not all open access publishing works on a pay-to-publish model; far from it. The <a href="https://doaj.org/">Directory of Open Access Journals (DOAJ)</a> provides a directory of high-quality, peer-reviewed open access journals and over 70% of those listed are free not only for readers to access content, but also for authors to publish.<br />
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In some cases these journals are fully subsidised by a scholarly society of research institution, although this is often only on a temporary basis while a new journal established itself. New university-based and scholar-led presses, like <a href="https://universitypress.whiterose.ac.uk/">White Rose University Press</a> which The University of York run in collaboration with Leeds and Sheffield, often do charge APCs or BPCs but at a rate much lower than commercial publishers.<br />
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Other publications are made open access without ‘pay-to-publish’ through cooperative models. <a href="https://scielo.org/">SciELO</a> makes over 1,700 journals open access through a collaboration across 16 countries, primarily in Latin america. <a href="https://scoap3.org/">SCOAP3</a> relies on a partnership of over three thousand libraries, funding agencies and research centers to provide open access to journals in the field of high-energy physics. The preprint server <a href="https://arxiv.org/">arXiv</a>, based at Cornell University, demonstrates the role that community can play in sustaining open access enterprises, relying not only on the support of an active community of researchers but also on financial support from a community of <a href="https://confluence.cornell.edu/display/arxivpub/arXiv+Member+Institutions">member institutions</a>, of which the University of York is one. This community funding model can translate to peer-reviewed publications. <a href="https://www.openlibhums.org/">The Open Library of Humanities</a>, for example, provide open access with no publication charges through voluntary subscriptions from <a href="https://www.openlibhums.org/plugins/supporters/">supporting institutions</a>; again including the University of York.<br />
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Open access monograph publishing may be where some of these community-oriented approaches are most fruitful. <a href="http://www.knowledgeunlatched.org/">Knowledge Unlatched</a> offers a scheme for the library community to collectively fund open access for academic books. Just this week, MIT Press <a href="https://www.insidehighered.com/news/2019/10/22/exploring-subscriptions-support-open-access-monographs">announced plans to experiment with a subscription-like model to make monographs open access</a>.<br />
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<h3>
So we’ve cracked it then?</h3>
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Ummm… not quite. Some of the models emerging for the provision of open access give us a glimpse of the potential for full, equitable and sustainable open access publishing, but there is plenty of scope for further innovation.<br />
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One of the commitments in Science Europe’s <a href="https://www.coalition-s.org/">Plan S</a> is for research funders to provide support for the development of open access infrastructure. While it’s only natural for funders to be concerned primarily with the research that they themselves support, considering how infrastructure can be open to all will be an essential part of ensuring the kind of sustainable open access to which <a href="https://www.coalition-s.org/">Plan S</a> aspires.<br />
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<i>Thom Blake is a <a href="https://www.york.ac.uk/library/info-for/researchers/support/">Research Support Librarian</a> at University of York.</i><br />
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Thom Blakehttp://www.blogger.com/profile/01034761988707474489noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-7665227252521050692019-10-22T09:00:00.000+01:002019-10-23T21:33:57.212+01:00Making research data open: what’s on offer?<br />
This week is <a href="http://www.openaccessweek.org/">Open Access Week</a>, a global event to promote the goals of Open Access and the benefits of open sharing, so what better time than to share how we can help you to make your research data open. <b>Lindsey Myers</b> writes about the benefits of open data and the support available to York researchers.<br />
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Open access is a broad international academic movement that seeks free and unrestricted online access to the results of scholarly research, such as publications and data. When we apply the principles of openness to research data, we talk about open data.<br />
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“Open data and content can be freely used, modified, and shared by anyone for any purpose” <a href="https://opendefinition.org/">The Open Definition</a></blockquote>
Open data offers many benefits. For scholarship it can increase the integrity, quality and productivity of research, making the optimal reuse of research data possible. For the researcher, she can benefit in terms of academic reputation and reward, opportunities for collaboration with data users, and the generation of impact. It has been shown that research articles, and the data itself, receive more citations when the underlying data is open (Piwowar & Vision, 2013, '<a href="https://peerj.com/articles/175/">Data reuse and the open data citation advantage</a>'; SPARC Europe, 2017, '<a href="https://sparceurope.org/open-data-citation-advantage/">The open data citation advantage: a briefing paper</a>'). So there are selfish reasons for making data open that all researchers can take advantage of.<br />
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<h3>
How we help researchers to make research data open </h3>
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One of the ways we can help is by providing a home for research data. After a research project ends, valuable research data needs to be deposited with a suitable data repository so that it can be stored for the long-term and made available to others as appropriate. To this end we provide the Research Data York service. Researchers can deposit their research data with <a href="https://www.york.ac.uk/library/info-for/researchers/data/research-data-york/">Research Data York</a> and we will look after it for a minimum of 10 years. We asked researchers to provide a description of their deposited datasets so that others can understand and interpret the data, enabling its reuse. We use the <a href="https://pure.york.ac.uk/portal/en/">York Research Database</a> to make datasets discoverable and to provide access, publishing a description of the dataset along with a download link here. A <a href="https://creativecommons.org/licenses/by/4.0/">CC BY licence</a> is applied to open data, which informs those who want to reuse the data that they can as long as they give appropriate credit to the data creator (the researcher). A DOI (<a href="https://datacite.org/dois.html">digital object identifier</a>) is minted for deposited datasets so that researchers can cite their research data within their published papers, making the reader aware of the availability of the data and aiding data discovery. In these ways we are supporting our research staff and students to make their data open and to make them <a href="https://www.force11.org/group/fairgroup/fairprinciples">FAIR</a> (Findable, Accessible, Interoperable and Re-usable).<br />
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We are also making it easier for researchers to deposit their research data with Research Data York. In the near future researchers will be able to upload the datasets they wish to deposit with the service in <a href="https://www.york.ac.uk/staff/research/pure/">Pure</a>, a system used to record York’s research activities, outputs and datasets. Researchers who have datasets that are too large to upload to Pure need not worry, we will provide temporary read-write access to a ‘drop-off’ folder to enable the easy transfer of large datasets to the service.<br />
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Of course, not all research data can be made open. The release of some research data will be limited or even prohibited by legal, ethical or commercial constraints. We therefore encourage researchers to take the approach “as open as possible as closed as necessary” with their data. Decisions made by a researcher early on will affect how she can use, archive and share data later and that is why it’s so important to plan for data management and sharing from the start of project. <a href="https://dmponline.dcc.ac.uk/">DMPonline</a> is a handy free tool for researchers who are funded, as it helps them to create, review and share data management plans that meet funder requirements. Alternatively, use York’s simplified <a href="https://docs.google.com/document/d/1ZMd0KkaYPiqL4LilH19Cmdy-s-b0vD3n0tgieTA0bl8">data management plan template</a> (and the <a href="https://docs.google.com/document/d/1vcpO3Buh3f776qw8bUjRTRM90ocjb8gltn9sRdsna38">prompt sheet</a>) to start planning your data management and sharing.<br />
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<h3>
What can you do to make your research data open?</h3>
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The most important thing you should do is to plan ahead, plan your data management and plan for archiving and sharing of your research data. Create a <a href="https://www.york.ac.uk/library/info-for/researchers/data/planning/">data management plan</a>, address all ethical and legal issues, and consider what is appropriate given the nature of your data and any restrictions you may need to impose. To be of most benefit open data should be made FAIR. To make your data FAIR, deposit it in an appropriate <a href="https://www.re3data.org/">data repository</a> under an <a href="http://eprints.gla.ac.uk/171316/">open licence</a>, in <a href="https://www.york.ac.uk/library/info-for/researchers/data/organising/">reusable formats</a>, with appropriate <a href="https://www.york.ac.uk/library/info-for/researchers/data/organising/#tab-3">documentation</a> to make it intelligible to others, and <a href="https://www.york.ac.uk/library/info-for/researchers/data/sharing/#tab-5">cite the data</a> in your publications.<br />
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<i>Lindsey Myers is a <a href="https://www.york.ac.uk/library/info-for/researchers/support/">Research Support Librarian</a> at University of York.</i>Thom Blakehttp://www.blogger.com/profile/01034761988707474489noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-88291346750761793162019-10-15T09:11:00.001+01:002019-10-22T12:15:10.452+01:00Our histories should be accessible to all: the significance of highlighting Black British History / a blog post by Olivia Wyatt<br />
Have you noticed the street sign ‘Harewood Way’ during your journey to the University Library? It is one example of the university’s many connections to Harewood House: one of the ten Treasure Houses of England. Among these connections, you also have the 7th Earl of Harewood, George Lascelles: chancellor of the university from 1962 to 1967. But the connection I will focus on is how the Borthwick Archive holds thousands of articles relating to the Lascelles’s 327-year involvement in Caribbean plantations. From slave inventories to loan agreements, this archive maps the lucrative slave-owning, slave-exporting, and slave-exploiting business that heavily contributed to the wealth of the Lascelles. Such wealth which enabled Edwin Lascelles to replace his comparatively meagre lodgings of Gawthorpe Hall with this extravagant building.<br /><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-EuSz0M1c0pY/XaQ00i-LUvI/AAAAAAAAA64/3XdvkP46hAs5Vcv69M4nVyTBPpFOrjEdACNcBGAsYHQ/s1600/harewood-house-1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="190" data-original-width="320" height="188" src="https://1.bp.blogspot.com/-EuSz0M1c0pY/XaQ00i-LUvI/AAAAAAAAA64/3XdvkP46hAs5Vcv69M4nVyTBPpFOrjEdACNcBGAsYHQ/s320/harewood-house-1.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-size: xx-small;">Harewood House (taken from
https://www.yorkshire.com/view/attractions/leeds/harewood-house-182191)</span></td></tr>
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I grew up in Leeds and often visited the House and its extensive grounds. It was during a recent visit that a friend alerted me to the displays’s brief mention of slavery. Despite the Lascelles’s long slave-owning history, the single-side of A4 laminated paper focused on how William Wilberforce visited the house. I contacted Harewood House Trust and proposed a project that updated their displays with information and material from the Borthwick. The Head of Special Collections agreed that this was an important part of the House’s history which deserves a more prominent mention. And thus the project was born.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-gIjz0dgpYfg/XaQ1vAWQJXI/AAAAAAAAA7A/SsDnXDWCO-4qN--nHEXQBFjLcyOccobmwCNcBGAsYHQ/s1600/FullSizeRender.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="241" data-original-width="242" height="318" src="https://1.bp.blogspot.com/-gIjz0dgpYfg/XaQ1vAWQJXI/AAAAAAAAA7A/SsDnXDWCO-4qN--nHEXQBFjLcyOccobmwCNcBGAsYHQ/s320/FullSizeRender.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;">Harewood House’s display information on slavery (photo taken by author)</span></td></tr>
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I am currently exploring the archives to discover what could be used in the new displays at Harewood House. We are also interested in unearthing information that can fit into their current displays- in order to show how the history of the family was entwined with that of their slaves in Jamaica, Barbados, Antigua, Tobago and Grenada. As part of this project, I have also advised Mayfly Television and Uplands Television on their Channel 4 and Channel 5 documentaries on slavery and the Lascelles.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-size: xx-small;">Cover letter mentioning the foiled Tobago conspiracy (taken by author at the Borthwick
Archive - photographs can be used non-commercially)
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-size: xx-small;">Extract from a slave schedule of the Belle plantation (1777) (taken by author at the
Borthwick Archive - photographs can be used non-commercially)</span></td></tr>
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A lot of the material relating to the Lascelles’s plantations was destroyed during the Blitz. Consequently, I am using the limited evidence of individual slaves, alongside new research into slavery, to represent the experiences on the Lascelles’s plantations. The Lascelles relied on letters to be informed about the latest news by their agents in London and the Caribbean. These constitute a large proportion of the archive and usually provide helpful summaries of the activities of the plantations. Slaves are rarely, if not ever, mentioned by name, but there are interesting references to them. I am using new research to contextualise these brief mentions in order to reconstruct the lives of the slaves. The archive also features some slave inventories. These were typically created to revalue the slaves and livestock when the Lascelles were considering selling a plantation. They provide information about the origin, occupation, value, age and condition of the slaves; but more importantly, they provide us with names.<br />
<br />
It is my hope that through adding these voices to Harewood House, these slaves can be remembered within the walls they tirelessly laboured to build and lavish. They will not be lost within an archive, but will become associated with a key British landmark- a step towards viewing slavery not simply as a system which functioned overseas, but as a significant part of British History. Including the stories of Anthony, Goamy and Eliza within one of our most important stately homes, and within Britain’s Black History Month, is testament to this. Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-82414598240727664432019-10-10T15:46:00.003+01:002021-09-19T16:56:23.675+01:00Wellbeing in the digital world <style>
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<p style="font-size:110%">As well as it being <a href="http://www.librariesweek.org.uk/">Libraries Week 2019</a> (with its theme of libraries in a digital world), today is also <strong>World Mental Health Day</strong>. To mark this, <strong>Susan Halfpenny</strong> takes a look at the topic of <strong>Digital Wellbeing</strong> and shares some of her approaches to switching off...</p>
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<p>Once upon a time, there was a world before our own: a land where the internet didn’t exist. It was a magical place... of playing outdoors, looking up information in books, visiting the library! An age when you didn’t know everybody’s bad opinions on every topic; where meeting people actually involved going to a physical place! That fabled land is a fading memory. Now it’s hard to go a day without using digital technologies.
In this new and confusing world, we can barely tell fact from fairytale. Trolls no-longer simply hide under bridges, while big bad wolves keep their big big eyes on us, recording our every action. Has something got lost in this digital forest? Have we traded the prospect of a happy ending for a handful of magic beans?</p>
<p>Sometimes in our modern society it can feel like we are more present in the digital spaces than we are in the physical world. All the interconnectedness of technology with our everyday activities has made a lot of processes easier but it can also result in us feeling ‘always on’. This inability to switch off can have a negative impact on our wellbeing. It is therefore important that we develop the skills that will enable us to use applications effectively, critically evaluate the information we consume, and manage our online/offline balance. </p>
<h3>Digital Wellbeing</h3>
<p>Digital wellbeing is “the capacity to look after personal health, safety, relationships and work-life balance in digital setting” (<a href="https://www.jisc.ac.uk/rd/projects/building-digital-capability" target="_blank">Jisc, 2015</a>). For us to effectively manage our digital wellbeing we require the skills to manage digital overload and distraction, protect our personal data, and engage responsibly online. We need to act with concern for the human and natural environment when using digital technologies. To improve digital wellbeing we need to balance developing ICT skills with critical evaluation and interpersonal skills. To enable us to make informed and critical decisions about the impact of digital technologies on our wellbeing we need to reflect and consider if these technologies have an impact on our emotions, relationships, and sense of self.
We will all have different ideas about how much time we spend online is right for us and which tools help or hinder our wellbeing. There is no right or wrong. What we need to do when considering our digital wellbeing is identify what works for us as individuals. Once we have this figured out we can look to how our actions can impact others and ensure we are behaving in a socially responsible way. </p>
<h3>Switch off or burn out</h3>
<p>Managing your online/offline balance is not always an easy task and sometimes we can feel overwhelmed by email, messages, notifications and alerts. These digital distractions can seep into all areas of our lives, making us feel pressured to respond; drawing our attention away from activities we are undertaking in the real world. In the following video, from our <a href="https://www.futurelearn.com/courses/digital-wellbeing" target="_blank">Digital Wellbeing</a> course, I explore some of the ways I have struggled with digital distractions which caused stress and anxiety — making me feel I was ‘always on’.
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<p>Here are some useful features, tools and tips that I identified when I was trying to address my work-life balance and ‘switch off’:</p>
<ol>
<li>
<strong>Turn off your alerts:</strong> getting alerts at all times of the day can be stressful and distracting. You can use the <em>Do not disturb</em> function on your Apple or Android device to switch off alerts from all apps. If you want to manage this on an app-by-app basis then you can do this in the settings. We provide guidance on how to turn off alerts for different operating systems on our <a href="https://subjectguides.york.ac.uk/howdoiguide/digital-wellbeing" target="_blank">digital wellbeing page</a>.
</li><li>
<strong>Make a quick note:</strong> when you have an idea or remember something you need to do, note it down somewhere to look at later. You could use a non-tech method like a post-it or notepad or a tech solution like <a href="https://www.google.com/keep/" target="_blank">Google Keep</a>. The Keep mobile app has voice recognition, so you can speak the idea into your phone and it’ll take a written note that can be picked up later.
</li><li>
<strong>Send less email:</strong> research has found that, on average, people spend a third of their time at work — and half the time they're working at home — <a href="https://newsroom.carleton.ca/archives/2017/04/20/carleton-study-finds-people-spending-third-job-time-email/">reading and responding to emails</a>. All this time dedicated to emails can result in increased workload and stress. Take a look at our <a href="https://www.york.ac.uk/it-services/services/email/etiquette/" target="_blank">effective email guidance</a> for hints and tips for email management.
</li><li>
<strong>No phones rule:</strong> identify time when you won’t look at your phone. You might find it useful to have no phones in the bedroom so you can go to sleep and wake up without the distraction of technology, or no phones at dinnertime to encourage interactions with your family or housemates.
</li><li>
<strong>15 minute rule:</strong> when you get home, for the first 15 minutes do something that will take your mind off work and make you happy! If straight after the working day doesn’t work for you, pick a different time that does. This is a technique picked up from readings of positive psychology and mindfulness. The <a href="https://www.actionforhappiness.org/10-keys-to-happier-living" target="_blank">Action for Happiness</a> website provides useful tips and activities that you could consider using for your 15 minutes.
</li></ol>
<p>
As previously mentioned, there is no ‘one size fits all’ solution when it comes to digital wellbeing. One person’s positive can be another person's negative. It’s all about taking the time to reflect and think about what works for your wellbeing. </p>
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<p style="font-size:110%">If you're interested in finding out more about the topic of digital wellbeing, we're running a <a href="https://www.futurelearn.com/courses/digital-wellbeing" target="_blank">free three-week-long online course</a> which starts on 21st October. We'll be exploring the concepts of health, relationships and society in the digital age, and we'd love to see you there!</p>Stephanie Jesperhttp://www.blogger.com/profile/11368547989969547462noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-84101782534788044142019-10-07T13:49:00.002+01:002021-09-19T16:56:37.036+01:00Digital Creativity: telling new and old stories with technology<style>
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<p style="font-size:110%">It's <a href="http://www.librariesweek.org.uk/">Libraries Week 2019</a>, and this year's theme is <strong>libraries in a digital world</strong>. Over the course of the week we'll be doing a few things to celebrate this, including a <a href="https://subjectguides.york.ac.uk/skills/training"><strong>Digital Creativity Showcase</strong></a> on Wednesday afternoon, and an open lecture on <a href="https://www.york.ac.uk/news-and-events/events/public-lectures/autumn-2019/digital-wellbeing/"><strong>Digital Wellbeing</strong></a> on Wednesday evening. First, to get us in the mood, <strong>Siobhan Dunlop</strong> explores what it means to be digitally creative...</p>
<center><img border="0" src="https://lh5.googleusercontent.com/yNJG0vcJm27PMN7_xveGk7OIuPFgDHYo_7K4VheehJgjktUA1BjHlNwl-cUPtN7wNmLc-6-i1ZmpmsnbqkqcrHgEN0uZz8ysChWIYJ9o-rJ2fRqMRD-M=w1175" alt="Participants use augmented reality in the 2018 Digital Creativity exhibition" title="Participants use augmented reality in the 2018 Digital Creativity exhibition" width=80% ></center>
<p>Historical words for beer drinking in the <a href="https://yorkshiredictionary.york.ac.uk/">Yorkshire Historical Dictionary</a>... Virtual reality experiences that show some of the less loved parts of the University of York campus in new lights... The sound of a beating heart. Getting hands on with old records, chapbooks, newspapers, and maps. Art made from code... Completely random things made from code. The ideas of Brian Eno... Cleaning data... The 12 days of Christmas turned into an augmented reality orchestra...</p>
What do these have in common? They’re all things that have come into our digital creativity work, from two week-long events for students to inspiration for new training sessions and standalone showcases.</p>
<h3>What is 'digital creativity'?</h3>
<p>As we’ve defined it, ‘<a href="https://subjectguides.york.ac.uk/skills/digital-creativity">digital creativity</a>’ is about using digital tools and technologies to explore creative ideas and to find new ways to display ideas, research, and work. In practice, this means trying out innovative tools and different creative approaches not only with digital media, but with data, historical materials, and anything else we can think of!</p>
<p>As an area, research has been done around ‘digital creativity’ as it relates to various aspects of creativity and digital technology. There’s <a href="https://www.tandfonline.com/toc/ndcr20/current">a journal of the same name</a> that proclaims to be ‘at the intersection of the creative arts, design, and digital technologies’ (<a href="https://www.tandfonline.com/action/journalInformation?show=aimsScope&journalCode=ndcr20">Aims and scope</a>, Digital Creativity), and the <a href="https://digitalcreativity.ac.uk/">Digital Creativity Labs</a> is a centre for research in games and interactive media. If you search online for ‘digital creativity’, one result is a page on <a href="https://www.quora.com/What-is-digital-creativity">Quora.com</a> that claims the term is ‘outdated’ because ‘all media now digital’.</p>
<p>Maybe most media is now digital in some way, either in its creation or how we interact with and consume it, but ‘digital creativity’ in practice can be a way of focusing on being creative in new and different ways, utilising the power of technology to open up new ways of thinking and new juxtapositions. In turn, this can bring ideas, stories, and research to new audiences, as we found when running our Digital Creativity Week.</p>
<h3>What is Digital Creativity Week?</h3>
<p>In Information Services at the University of York, we’ve run our <a href="https://digitalcreativityweek.york.ac.uk/">Digital Creativity Week</a> twice now. During the week, a group of students work with IT professionals, librarians, and archivists to explore material related to a theme, learn how to use a range of digital tools in workshops, and work together to create final exhibition pieces that relate to both the theme and the digital tools used during the week. Armed not only with laptops and tablets but also notebooks and pens, it is a chance to be creative outside the usual confines of an academic discipline or project.</p>
In 2018, the focus was on the <a href="https://yorkshiredictionary.york.ac.uk/">Yorkshire Historical Dictionary</a> data: the students explored the words in the dictionary, learnt about cleaning up the data, and worked with image editing, audio editing, and coding visualisations with <a href="https://processing.org/">Processing</a> to bring certain words and ideas to life. Their final creation was a presentation in the <a href="https://www.york.ac.uk/tfti/facilities/facilities-hire/3sixty/">3Sixty</a> space at York, which projects onto four screens to create an immersive experience. It was combined with augmented reality trigger images that added word definitions and other media to the show. Each student took their own inspiration from different parts of the dictionary to create a section of the presentation, ranging from words linking to war, the home, and the alehouse to a look at immigration to the area. Their final piece can be viewed in a widescreen version below:</p>
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<p>In 2019, the week ran again, with more students and a wider theme: Yorkshire. The students visited York Minster Library and the Borthwick Institute for Archives to get hands on with material relating to the region and consider their relation to it. Workshops on audio, images, and coding were interspersed with creative prompts and the chance to try out VR and see live music coding.</p>
<center><img border="0" src="https://lh5.googleusercontent.com/fN-_2YECZtY37Bw62v5joIK2isLvKZJK0ZTwNDTuU8fnUEN3JhWZmRtw3MOC1Z_gXrS3_hAOcWHvJiCMSScDs8uw1B2H_KPLHbL-MBdis-eehcfzWI4=w371" alt="Inspiration from the York Minster Library collections" title="Inspiration from the York Minster Library collections" width=40% ></center>
<p>This time, the exhibition broke free of a single space and took over the Harry Fairhurst building in the library, where the students created exhibition rooms for attendees to visit and experience their visions of Yorkshire and its past and present. The event contained reflections on the fragility of history and missing data, a look right at the heart of Yorkshire, and pieces considering the continuity of York despite all the change that has taken place. A selection of the final exhibition pieces can be viewed on our <a href="https://digitalcreativityweek.york.ac.uk/2019/dcw19-work">Digital Creativity site</a>.</p>
<h3>How can we all be digitally creative?</h3>
<p>Digital creativity isn’t something confined either to week-long events, or to people who work with technology. It is about experimenting with new tools and ideas, combining material in unexpected ways, and finding the digital technologies that can help you be creative or express your creativity. To conclude this post, here are some suggestions for being digitally creative:</p>
<ol>
<li><strong>Try out new free tools</strong>. Our site of <a href="https://script.google.com/a/york.ac.uk/macros/s/AKfycbzWLCnH5NFlW9fmGqPddiwZcvJfQqWnxMVY_uvRCElMYFYfhkw8/exec?sheet=Online%20Tools">digital creativity tools</a> might give you inspiration and it has a <a href="https://script.google.com/a/york.ac.uk/macros/s/AKfycbzWLCnH5NFlW9fmGqPddiwZcvJfQqWnxMVY_uvRCElMYFYfhkw8/exec?random=yes">Random Digital Creativity Generator</a> if you’d like some help starting off (refresh that page for a new set of suggestions).</li>
<li><strong>Explore historical material</strong>. Part of digital creativity is about working with material and research in new ways, so why not explore the collections discussed on this blog and the <a href="http://borthwickinstitute.blogspot.com/">Borthwick Institute for Archives blog</a>.</li>
<li><strong>Use a notebook</strong>. Doesn’t sound very digital, but you shouldn’t doubt the notebook. During Digital Creativity Week each student has a notebook to fill with their ideas, thoughts, doodles, and notes. These can be photographed and digitally manipulated or be used to spark off ideas for soundscapes, videos, and more.</li>
<li><strong>Fail better</strong>. Remove any expectations of what you must create and instead aim for something that is completely new to you, even if it’s not what you intended to make. Try out <a href="https://script.google.com/a/york.ac.uk/macros/s/AKfycbzWLCnH5NFlW9fmGqPddiwZcvJfQqWnxMVY_uvRCElMYFYfhkw8/exec?category=Glitch">glitch tools</a> to embrace the bizarre or give yourself arbitrary constraints on your piece to see which direction that sends you in.</li>
<li><strong>Have fun</strong>. You don’t have to set out to create something beautiful or learn a new skill. You never know what you might do with a spare 5 minutes!</li>
</ol>
<p>If you're interested in finding out more, or getting a little more inspiration, feel free to drop in on our <strong>Digital Creativity Showcase</strong> in LFA/144 (Fairhurst first floor), from 14:30-16:00 on Wednesday 9th October.</p>
Stephanie Jesperhttp://www.blogger.com/profile/11368547989969547462noreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-84012745818032698492019-07-15T12:56:00.000+01:002019-07-15T12:56:34.359+01:00Reading Beyond the Lines - a blog by Caylee Dzurka (Library summer intern)<span id="docs-internal-guid-5db0f48a-7fff-c45e-5489-398a5cbe0284"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<a href="http://yorsearch.york.ac.uk/44YORK:44YORK_ALMA_DS21207664400001381" style="font-size: 14px;">Mountain Flowers in Colour</a><span style="font-size: 14px;"> by Anthony Huxley </span></div>
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<span style="font-size: 14px;">& the notice from the National Tourist Organization </span></div>
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<span style="font-size: 14px;">of Greece that was found inside it</span></div>
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<span>It’s hard to explain to someone why books can become important Archaeological objects. We are told not to leave physical marks on books from primary school and given how much more expensive books are new versus used, it’s understandable why most of us think the ideal state for a book is untouched and pristine. <br /><br />But sometimes the books that are marked up, written in, and filled with smatterings of paper can be the most interesting. These kinds of books provide us with information beyond what is written in them. They allow us to analyze the history of that book such as who owned it, what they thought of it, and how they interacted with the text. Annotations, bookmarks, and loose papers are the physical traces of the past that are left behind for future readers to discover and interpret. These historic footprints allow us to achieve a new understanding of the past and figure out how this book fit into the larger historical narrative. <br /><br />Doesn’t sound that far off from Archaeology now does it?</span><div>
<br />Thinking of books as material culture was the aim of the Library’s internship project I worked on. By reading the physical traces that were left behind in the <a href="https://www.york.ac.uk/library/collections/named-collections/garden-history-society/">collection donated by the Garden History Society</a>, I attempted to understand the history of these books and the discipline of Garden History at large. Recently, no one had looked through this collection to see what was in it and it’s easy to see why when you look at the collection itself. The majority of it is on the Ground Floor of King’s Manor Library and - until this summer - was classified with a system that was different from the rest of the Library. This meant that many of the titles were out of order. My task was to document this collection and discover any annotations that had been left in the books by the famous Garden Historians who donated them. After spending countless hours hunting down books at both JB Morrell and King’s Manor Library, I am happy to report that the collection has been moved to JB Morrell to be re-classified, and that I found a number of different physical traces which inform us about the history of the books themselves. <br /><br />Throughout this collection I found loose papers, annotations, and other objects hidden away inside these books that informed me of the context in which they were read, who the owners of these books were, and who contributed to the Garden History Society library. All of these marks brought the story of the collection into focus, and reminded me of the importance of thinking of books as material culture. <br /><br /><i><u>Reading in the Garden</u></i><br /><br />Some of the treasures I found in these books – which seems very obvious when you think about it - was a number of pressed flowers. Pressing flowers between the pages of a book seems to be a habit that has persisted throughout time since I found a strawberry leaf in a book from 1829, a fern leaf in a book from 1897, and what appears to be another flower in a book from 1973. <div>
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<tr><td class="tr-caption" style="text-align: justify;"><span lang="EN-CA" style="font-family: "Times New Roman", serif; line-height: 107%;"><span style="font-size: x-small;">Pressed flower from book published 1973</span></span></td></tr>
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Pressed flowers are to be expected in books about gardens and nature, but what their presence could indicate is that a previous owner read this book in a garden or a park where they had access to these types of flowers and shrubs. They could also demonstrate that the person reading the book wanted a visual aid of the plant they were learning about, which could be the case of the fern leaf since I found it near a chapter on fern plants. Regardless of the reasoning behind these pressed flowers, their presence gives us insight into what kind of setting these books were read in and a human habit that has lasted quite a long time.</span></span></div>
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<span style="font-size: x-small;">Pressed fern from book published 1879, found near the chapter on fern plants</span></div>
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<i><u>Reading for the Garden</u></i></span></span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span>At some point every desperate book reader has used a scrap of paper as a bookmark. So it wasn’t uncommon for me to find random bits of paper tucked between the pages of the books in this collection. These included personal notes, grocery lists, and most frequently, newspaper clippings. Typically, these clippings were related to the subject of the book - such as a book review for Julia Berrall’s <a href="http://yorsearch.york.ac.uk/44YORK:44YORK_ALMA_DS21201211760001381">The Garden: an illustrated History from ancient Egypt to the present day</a> being taped to the back cover of that novel. <br /><br />However, one in particular stood out because I found it in an envelope in the back of a book, and that the title of the article was “Monsters of the Garden.” I recovered this article from a book titled <a href="http://yorsearch.york.ac.uk/44YORK:44YORK_ALMA_DS21207829390001381">The New Gardening</a>, and when I read it, I found out it was about the death of an American man named <a href="https://en.wikipedia.org/wiki/Luther_Burbank">Luther Burbank</a>. However, this wasn’t a respectful obituary of Burbank’s life accomplishments. Instead, the author heavily critiques the man he calls “Frankenstein” because he experimented with the fruits and vegetables in his garden to make them larger and sweeter. <div dir="ltr" style="font-family: Calibri; font-size: 11pt; line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt; white-space: pre-wrap;">
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-VIpgH5mCa6E/XSxiGabrj3I/AAAAAAAAA3c/IJ1Yv_Uz00g_GQdejIdx2m0ASUjPJA-HACLcBGAs/s1600/Caylee%2B6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="555" data-original-width="739" height="240" src="https://1.bp.blogspot.com/-VIpgH5mCa6E/XSxiGabrj3I/AAAAAAAAA3c/IJ1Yv_Uz00g_GQdejIdx2m0ASUjPJA-HACLcBGAs/s320/Caylee%2B6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;"><span lang="EN-CA" style="font-family: "Times New Roman", serif; line-height: 107%;"><span style="font-size: x-small;">The newspaper article from April 4<sup>th</sup>, 1926</span></span></td></tr>
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Today this seems a bit over the top but in the 1920’s when hybridization of plants wasn’t really common, some people might have agreed with the author of the article. The owner of this book clearly did since the other newspaper clippings in that envelope were about how insect infestations of crops remind us that nature is always in control and we are never the masters of it. Given that the book itself is on garden cultivation, it is clear that the owner was educating themselves about the laws of nature and wasn’t particularly fond of people who tried to meddle with it. <div>
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Contributions to Garden Reading</u></i></span></span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span><br />One of the main aims of this project was to document who the main contributors to the Garden History Society collection were. This was done by locating the bookplate – typically inside the front cover - and seeing who the book was donated by. The main contributors included Eileen Stammers-Smith, Basil Williams, and John Anthony; all of whom had their names written on bookplates which were created during the time the collection was donated to King’s Manor Library. <br /><br />At the start of the project, we believed that this was going to be the only way we determined who had contributed to the collection. However, while reviewing the section on flower identification, I noticed that a number of these books had the name Cynthia Newsome-Taylor written in the front. Knowing that this is usually done by someone who owns the book, I began to wonder whether or not these books had once belonged to Cynthia and if she had donated them to the Garden History Society library.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-nzkpNuLopxM/XSxi_AtQuKI/AAAAAAAAA3k/v7_5dhfXs3w1ObmkPohLIyDRSukNXT0SACLcBGAs/s1600/Caylee%2B7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="872" data-original-width="654" height="320" src="https://1.bp.blogspot.com/-nzkpNuLopxM/XSxi_AtQuKI/AAAAAAAAA3k/v7_5dhfXs3w1ObmkPohLIyDRSukNXT0SACLcBGAs/s320/Caylee%2B7.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption">Example of Cynthia Newsome-Taylor's signature</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JpSplMNOeqE/XSxi_DlbdHI/AAAAAAAAA3o/qho767VGydQ93qppNQ1dezmJH4eDPIN-wCLcBGAs/s1600/Caylee%2B8.jpg" imageanchor="1" style="font-size: 11pt; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="816" data-original-width="612" height="320" src="https://1.bp.blogspot.com/-JpSplMNOeqE/XSxi_DlbdHI/AAAAAAAAA3o/qho767VGydQ93qppNQ1dezmJH4eDPIN-wCLcBGAs/s320/Caylee%2B8.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;">Cynthia noting her contribution to the book</td></tr>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span>After doing some research, I discovered that she was an artist who had drawn a number of flowers for the authors of these books, which isn’t surprising given that she wrote in one “Colour plates by Cynthia Newsome-Taylor” when the title page didn’t mention her contribution. <br /><br />While not listed as a contributor, these inscriptions indicated that Cynthia may have donated over twelve books to the library, some of which belonged to her husband Peter Hunt. Their marriage also might have occurred during the time she owned some of these books as the name Cynthia Newsome-Taylor and Cynthia Hunt are written in the same book in different ink. <div dir="ltr" style="font-family: Calibri; font-size: 11pt; line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt; white-space: pre-wrap;">
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-IC-6uajWxvA/XSxjth7U2BI/AAAAAAAAA30/fL7J1mZjzTkWRyHKk0HmGqvDtey78gBzgCLcBGAs/s1600/Caylee%2B9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: x-small;"><img border="0" data-original-height="869" data-original-width="652" height="320" src="https://1.bp.blogspot.com/-IC-6uajWxvA/XSxjth7U2BI/AAAAAAAAA30/fL7J1mZjzTkWRyHKk0HmGqvDtey78gBzgCLcBGAs/s320/Caylee%2B9.jpg" width="240" /></span></a></td></tr>
<tr><td class="tr-caption">Two separate versions of Cynthia’s name
written on the same page in different ink</td></tr>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span id="docs-internal-guid-e06497ee-7fff-0958-cb0d-13a93cad031f">It is this discovery over the other two that reminds me of the importance of looking for annotations in books. If Cynthia had never written her name in the front cover, we might never have known about her contribution to the collection, or the progression of her life. This small annotation was a massive clue about one of the faces behind the Garden History Society collection and brought another name to the front of our discussion about how this collection was built. <br /><br />So perhaps books are not ideal in a pristine, untouched condition. Perhaps they are most useful when they have grown into something entirely new and different. When you can read something else beyond the words on the page.<br /></span></span></div>
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The project Caylee worked on was arranged by the <a href="https://www.york.ac.uk/students/work-volunteering-careers/skills/work-experience/internship-bureau/">Careers Student Internship Bureau</a>. The work experience was paid for by the Library. The Garden History Society collection is normally kept at the King’s Manor Library, but is temporarily at the JB Morrell Library for reclassification work.</i></span></span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9198266091527969356.post-63720232113016660402019-07-11T09:49:00.001+01:002021-09-19T16:48:32.390+01:00Inside the mind of Robert Wilberforce: A closer look at the Wilberforce Collection<span id="docs-internal-guid-21acbc62-7fff-9f61-11a4-ecccae9ef395" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><b>Emily Atkin</b>, MA Public History, examines the texts in the Wilberforce Collection that confirm Robert Wilberforce's spiritual doubts and misgivings. </span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><img height="340" src="https://lh5.googleusercontent.com/BucwEG9eWOnehiUJ9KnNgq_wKa8un8bRrkrTzS2DhU6MH_HMdoXruVMixE2rrHbgwze_eTec6lwCDJYge1EEgJ1vE_yQ0ZMsy2t_N18GUxZVx6z7epRlI8zxvk10ekDu3wPklIqToT2vgcugeg" style="border: none; margin-left: auto; margin-right: auto;" width="244" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Book plate SC 27-5-5-10-01</td></tr>
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<span id="docs-internal-guid-c3065ac4-7fff-64af-9490-4531c869f139" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></span><br />
<span id="docs-internal-guid-e68f367f-7fff-8cb5-6809-dabd51aab1c4"><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">The Wilberforce Collection is a subset of books within the </span><a href="https://www.york.ac.uk/library/collections/named-collections/mirfieldcollection/" style="text-decoration-line: none;"><span style="color: #0563c1; font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Mirfield Collection</span></a><span style="color: #0563c1; font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">- deposited at the University of York in 1973 on permanent loan from the Community of the Resurrection, Mirfield, but formerly belonging to the library of abolitionist William Wilberforce and sons Robert and Samuel. William Wilberforce’s library was dispersed during the years after his death in 1833 and though many have found their way back into the Wilberforce Library at </span><a href="http://humbermuseums.com/museum-hull/wilberforce-house-museum/" style="text-decoration-line: none;"><span style="color: blue; font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Wilberforce House Museum</span></a><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> (WHM) as a result of donations by descendants, there is no telling how many more may have wound their way undetected into libraries like that of the Community of the Resurrection, built up by gifts from members and friends. The subject-matter contained within the library at WHM is wide-ranging, reflecting the interests, passions and religious devotion of Wilberforce and his family and thought to be actively used for self-improvement and religious inspiration, the many handwritten annotations being evidence of this. [1] The same can also be said of those now held in the library here at the University of York, with those belonging to William’s son Robert, to whom the majority of the found books belong, being particularly worthy of mention.</span></span><br />
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<span id="docs-internal-guid-26adaa22-7fff-ff13-1012-7ede4b4bfe72"><span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> In 1854 Robert Isaac Wilberforce resigned from the Anglican Church and was received into the Church of Rome. This decision marked the culmination of decades of personal, spiritual, turmoil but formed part of a larger trend of secession by High-Church individuals in the Church of England which had become typical in the mid-nineteenth century.[2] Their motivation? While many Anglo-Catholic converts were detached from the Church of their baptism simply because they found the marks of the “true” Church elsewhere, a series of reforms undermining the authority of the Church and its existence independent of the State propelled many others into the arms of the Tractarians and the Oxford Movement and, ultimately, the Catholic Church - Robert Wilberforce among them.[3]</span></span></div>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">For some the Oxford Movement represents a gigantic conspiracy to subvert the Protestantism of the Church of England from within however the reality is much more nuanced than that.[4] Joining the Oxford Movement was not a precursor to the wholesale repudiation of Evangelicalism with a guaranteed conversion to Catholicism at the end of it. As mentioned above, for some their Evangelicalism was a sort of stepping stone in a gradual spiritual awakening which culminated in their acceptance of the Roman Catholic Church as their “true” church; yet countless others remained within the Anglican Church, seeing the Movement as a vehicle for a much needed revival of theological studies and liturgical renewal.[5] Robert’s decision, though gradual, was not easy and represented thirty years of doubt and indecision as he wrestled with the crisis between Church and State and the impacts of this on his own faith. His growing disillusionment was centred around what he perceived to be an untidy boundary between the State and the Church which caused his allegiance to the Church of England to gradually wane until it disappeared altogether and gave way to a conviction that the Church of England was a heretical body to which he could no longer belong with a clear conscience.[6] But what does this have to do with a collection of books? </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Hebrew with annotations SC 27-6-3-16-01</td></tr>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">The Oxford Movement was as much an intellectual movement as one of spiritual revival and Robert was regarded as one of the Movement’s greatest theologians; his good friend and spiritual confidante Henry Manning going so far as to say he was perhaps the greatest of his generation.[7] To be able to see into the minds of history’s great thinkers is a privilege not always obtainable, however thanks to the discovery of a collection of texts once belonging to Robert Wilberforce within the Mirfield Collection, there is a chance we are able to do just that. What first appeared to be a collection of (not unsurprisingly) religious texts ranging in language from English to Latin, German and even Hebrew, upon closer inspection emerged as being that and so much more besides. Not only does the range of languages correspond with what is already known of Robert’s command of Christian doctrine, his familiarity with theological debates in Europe and interest in Lutheran doctrines in particular; the actual content of these texts and the evidence of Robert’s personal interaction with them is most illuminating of all. Through examining these texts it is easy to see more clearly just how consumed Robert was with what he perceived to be the untenable position of the English Church, the questioning of his own religious views as a result of that, and the influence on his own contributions to the history of Christian theology.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Pencil index SC 27-4-2-3-06</td></tr>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-448da053-7fff-6fa5-9c50-4f343f050c48"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The vast majority of these texts are religious in nature, and are altogether an unsurprising collection given they belonged to a man of the Church. However, with the knowledge of Robert’s spiritual doubts and misgivings, when certain texts are examined more closely we find that they become further evidence of this. Many are concerned with the reformation of the liturgy, the administration of the sacraments, and post-reformation histories of similar crises within the Christian church; of the books there a considerable number which contain signs of interaction by Robert such as marginal annotations, underlining and the logging of pertinent sections in his own personal index. For example in </span><a href="https://yorsearch.york.ac.uk/primo_library/libweb/action/display.do?tabs=requestTab&ct=display&fn=search&doc=44YORK_ALMA_DS21221072700001381&indx=5&recIds=44YORK_ALMA_DS21221072700001381&recIdxs=4&elementId=4&renderMode=poppedOut&displayMode=full&frbrVersion=&vl(138704588UI8)=00&&vl(1UIStartWith4)=contains&dscnt=0&vl(1UIStartWith0)=exact&vl(138704591UI8)=00&vl(1UIStartWith2)=contains&vl(138704586UI1)=any&mode=Advanced&vid=44YORK&tab=tab1&vl(boolOperator1)=AND&vl(138704589UI8)=00&vl(138704587UI7)=all_items&vl(freeText3)=&vl(freeText1)=&vl(boolOperator3)=AND&vl(138704590UI8)=00&vl(138704583UI3)=any&vl(drStartYear8)=&dstmp=1553012863301&frbg=&vl(138704581UI2)=any&vl(138704594UI0)=lsr05&vl(1UIStartWith3)=contains&title1=1&vl(138704593UI6)=all_items&scp.scps=scope%3A%2844YORK_RBL_LIB%29&tb=t&vl(1UIStartWith1)=contains&vl(138704582UI4)=any&vl(D138704585UI5)=all_items&srt=rank&vl(boolOperator0)=AND&vl(freeText4)=&Submit=Search&vl(boolOperator4)=AND&vl(boolOperator2)=AND&vl(freeText2)=&dum=true&vl(freeText0)=SC%2026-6-8-13&vl(138704592UI8)=" style="text-decoration-line: none;"><span style="color: #0563c1; font-size: 11pt; font-style: italic; vertical-align: baseline;">A Petition for Peace</span></a><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> “highlighted” sections include those relating to the sacraments, specifically communion and the contested idea of transubstantiation; and the greatest example of Robert’s indexing in this sample can be found in Robert’s copy of Paolo Sarpi’s </span><a href="https://yorsearch.york.ac.uk/primo_library/libweb/action/display.do?tabs=requestTab&ct=display&fn=search&doc=44YORK_ALMA_DS21216303690001381&indx=1&recIds=44YORK_ALMA_DS21216303690001381&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&vl(138704588UI8)=00&&vl(1UIStartWith4)=contains&dscnt=0&vl(1UIStartWith0)=exact&vl(138704591UI8)=00&vl(1UIStartWith2)=contains&vl(138704586UI1)=any&mode=Advanced&vid=44YORK&tab=tab1&vl(boolOperator1)=AND&vl(138704589UI8)=00&vl(138704587UI7)=all_items&vl(freeText3)=&vl(freeText1)=&vl(boolOperator3)=AND&vl(138704590UI8)=00&vl(138704583UI3)=any&vl(drStartYear8)=&dstmp=1553013023618&frbg=&vl(138704581UI2)=any&vl(138704594UI0)=lsr05&vl(1UIStartWith3)=contains&title1=1&vl(138704593UI6)=all_items&scp.scps=scope%3A%2844YORK_RBL_LIB%29&tb=t&vl(1UIStartWith1)=contains&vl(138704582UI4)=any&vl(D138704585UI5)=all_items&srt=rank&vl(boolOperator0)=AND&vl(freeText4)=&Submit=Search&vl(boolOperator4)=AND&vl(boolOperator2)=AND&vl(freeText2)=&dum=true&vl(freeText0)=SC%2027-4-2-3&vl(138704592UI8)=" style="text-decoration-line: none;"><span style="color: #0563c1; font-size: 11pt; font-style: italic; vertical-align: baseline;">History of the Council of Trent</span></a><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">.</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> The Council itself was a key part of the Counter-Reformation, playing a vital role in revitalizing the Roman Catholic Church throughout Europe and though Sarpi was critical of the Council for hardening differences with Protestants and quashing any hope of a united Christendom, it seems that this text is one which Robert engaged with heavily, and may be cited as an influence on Robert’s own writing.[8] Within this text indicated in the margins are sections such as those concerning ‘indulgences’, ‘repentance’, ‘benefits of council’ and, rather tellingly, ‘church authority’, all of which correspond to his three page index. It might well be assumed that this was a text that Robert found himself going back to time and again, hence the need to make relevant information easy to locate. </span></span></span></div>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-0caca711-7fff-9ec3-a8cd-7aea1ecd9fd6"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Like many of his Oxford fellows, Robert’s main preoccupations were: the centrality of the sacraments; the conviction that the Church of England must be freed from all state interference in matters of doctrine; and the need within the church for a systematic corpus of theology – preoccupying him to the point that his three great works - or doctrines - </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The Doctrine of the Incarnation</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> (1848), </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">of</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Holy Baptism</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> (1849) and </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">of the Holy Eucharist</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> (1853), saw him draw together the various strands of sacramental teaching, as communicated and understood both in the past and in more recent times, to form a single corpus of theology. These doctrines are at the heart of why Robert was regarded as one of the greatest theologians of his time or, alternatively, a heretic. [9]</span></span></span></div>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-fba4bee6-7fff-f293-8ffe-2010ab500850"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Robert’s works excited such controversy that he was at risk of prosecution by his Archbishop for false teaching. [10] In </span><a href="https://yorsearch.york.ac.uk/primo_library/libweb/action/display.do?tabs=requestTab&ct=display&fn=search&doc=44YORK_ALMA_DS71209093880001381&indx=1&recIds=44YORK_ALMA_DS71209093880001381&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&vl(138704588UI8)=00&&vl(1UIStartWith4)=contains&dscnt=0&vl(1UIStartWith0)=contains&vl(138704591UI8)=00&vl(138704586UI1)=any&vl(1UIStartWith2)=contains&vid=44YORK&mode=Advanced&vl(boolOperator1)=AND&tab=tab1&vl(138704589UI8)=00&vl(138704587UI7)=all_items&vl(freeText3)=&vl(boolOperator3)=AND&vl(freeText1)=&vl(138704590UI8)=00&vl(138704583UI3)=any&vl(drStartYear8)=&dstmp=1553248047399&frbg=&vl(138704581UI2)=any&vl(138704594UI0)=title&vl(1UIStartWith3)=contains&scp.scps=scope%3A%2844YORK_YML_LIB%29&vl(138704593UI6)=all_items&tb=t&vl(138704582UI4)=any&vl(1UIStartWith1)=contains&vl(D138704585UI5)=all_items&srt=rank&vl(boolOperator0)=AND&vl(boolOperator4)=AND&Submit=Search&vl(freeText4)=&vl(boolOperator2)=AND&vl(freeText2)=&vl(freeText0)=appeal%20to%20the%20lord%20archbishop%20York&dum=true&vl(138704592UI8)=" style="text-decoration-line: none;"><span style="color: #0563c1; font-size: 11pt; font-style: italic; vertical-align: baseline;">An appeal to the Lord Archbishop of York</span></a><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">, one James Taylor accused Robert of “teaching most emphatically […] all the gross heresies of the apostate Church of Rome”, “advocating without any disguise, all the popery of Trent” in his defence of the decrees of the Council of Trent against those of the Church of England.[11] In fact, Robert rather welcomed an eventuality - namely the threat of prosecution – which would force him to make a decision on the issue that was haunting him day and night – the question of whether he should seek reception into the Roman Church. When in the summer of 1854 rumours began to spread of legal proceedings being initiated against him Robert’s mind was made up, on the 30 August he recalled his subscription to the Oath of Supremacy and submitted his resignation from all his posts to the Archbishop and in October made the trip to Paris where he was to be received into the Church of Rome on all Saints’ Eve. [12]</span></span></span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;"><br /></span>
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">References</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[1] Information available at Wilberforce House Museum</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[2] Conrad, B. ‘The Politics of Conversion - the case of Robert Isaac Wilberforce’, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">International Journal for the </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Study of the Christian Church</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, 16:3, (2016), 182, </span><a href="https://doi.org/10.1080/1474225X.2016.1221591" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">https://doi.org/10.1080/1474225X.2016.1221591</span></a><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[3] Newsome, D. </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Parting of Friends: A study of the Wilberforces and Henry Manning</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">(London: Murray, 1966), 371 and Nockles, P.B. ‘The Oxford Movement and Evangelicalism: Parallels and </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Contrasts in Two Nineteenth-Century Movements of Religious Revival’ in R. Webster, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Perfecting Perfection: </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Essays in Honour of Henry D. Rack</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, (James Clark & Co Ltd, 2015), 243 </span><br />
<a href="https://www.jstor.org/stable/j.ctt1dfnrbh.16" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">https://www.jstor.org/stable/j.ctt1dfnrbh.16</span></a><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[4] Nockles, ‘The Oxford Movement and Evangelicalism’, 236</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[5] Nockles, ‘The Oxford Movement and Evangelicalism’, 258</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[6] Conrad, ‘The Politics of Conversion’, 192</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[7] Nockles, ‘The Oxford Movement and Evangelicalism’, 256 and Newsome, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Parting of Friends, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">381</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[8] See ‘Council of Trent’, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Encyclopaedia Britannica, </span><a href="https://www.britannica.com/event/Council-of-Trent" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">https://www.britannica.com/event/Council-of-Trent</span></a><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">and Cronin, V. ‘Paolo Sarpi’</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, Encyclopaedia Britannica,</span><br />
<a href="https://www.britannica.com/biography/Paolo-Sarpi#ref243329" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">https://www.britannica.com/biography/Paolo-Sarpi#ref243329</span></a></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[9] Newsome, D. ‘Wilberforce, Robert Isaac (1802-1857)’, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">OxfordDNB</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, 23 Sept, 2004, </span><br />
<a href="http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-29384;jsessionid=A5F5FD7A1615565ED58C1D17686D3610" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-29384;jsessionid=A5F5FD7A1615565ED58C1D17686D3610</span></a><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">and Newsome, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Parting of Friends</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[10] Newsome, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Parting of Friends, </span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">399</span></div>
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<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[11] James, T,</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> An Appeal to the Lord Archbishop of York, on the uncondemned heresies of the Venerable </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Archdeacon Wilberforce’s book, entitled ‘The doctrine of the Holy Eucharist’</span><span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, (London, William and Macintosh; </span><br />
<span style="background-color: transparent; color: black; font-family: "calibri"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Wakefield, Stanfield, 1854)</span></div>
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<span style="font-family: "calibri"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-f3073d6e-7fff-45fd-c723-fe936af1b306"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">[12] Newsome, </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The Parting of Friends, </span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">402</span></span></span></div>
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</span>Antonio Garcia Fernandezhttp://www.blogger.com/profile/08406982575275793435noreply@blogger.com0