home Cycle of Success, Special Collections and Archives Teaching Spotlight: Rebecca Mouser

Teaching Spotlight: Rebecca Mouser

Dr. Rebecca Mouser, a Postdoctoral Fellow in the Department of English is our guest for the Teaching Spotlight this month.

Could you tell us a bit about yourself?Rebecca

 

I am a postdoctoral fellow in the English department. My research focuses primarily on oral tradition in the Middle Ages; my recent dissertation explores oral tradition in the fourteenth-century alliterative romances such as Sir Gawain and the Green Knight and the Morte Arthure. Outside of my studies, I mostly spend my time with my two dogs, Isabelle (a Boxer) and Hermann (a German Shepherd).

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While at MU, I have taught several literature courses, including English 1210 (Introduction to British Literature), English 2100 (Writing about Literature), English 3200 (British Literature: Beginnings to 1784), and English 4210 (Medieval Literature: The Age of Chaucer).

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Chaucer's Boece, Fragmenta Manuscripta # 150,

In each of these courses, I stress the material culture of the various time periods as well as the historical and literary culture. We often discuss oral tradition and the development of literary texts. My hope is that students can see that the text goes beyond the page, and that the artifacts that survive can help us to interpret that larger text.

 

What materials or collections did your students work with?

 

My students usually view and work with a variety of manuscripts from the twelfth through fifteenth centuries. We discuss the development of various writing materials such as parchment as well as the various inks used. The manuscripts are both individual leaves of parchment and codices. I tend to bring my students to view the material culture of the Middle Ages (pre-16th century).

 

What outcomes resulted from you class visits? What were the effects on your students?

 

During my last visit to Special Collections, my students composed essays about the experience. Many of them stated that seeing the actual manuscripts helped them to conceptualize the Middle Ages as an actual place in time rather than an abstract idea of pastness. They really enjoyed learning about various ingredients used for ink as well. One student in particular chose a final writing project where she could work with digital manuscript images in her exploration of the idea of “fate” in Chaucer’s works. Overall, most of my students are excited about the experience and express the desire to return at some point on their own.

 

What advice would you give to colleagues interested in using Special Collections in their courses?

 

I think that the most important advice I would have is to take students to Special Collections, even if you are not yet sure of what you hope they will discover. The librarians are extremely helpful in setting up the session, providing ideas for what materials to view as well as brainstorming assignments. I always provide my syllabus before the session to help them to cater to my class. 

Leigh Hunt letters

Leigh Hunt was a poet, journalist, and essayist who was influential among the Romantic poets, including Byron, Keats, and Shelley.  Special Collections has a small collection of Leigh Hunt's correspondence dating 1823-1959, with the bulk of the material falling between 1831 and 1861.  The collection contains letters to and from various correspondents, including Leigh Hunt's oldest son, Thornton. A large portion of the correspondence consists of transcribed letters, for which the originals are lacking.

These materials are in the process of being digitized.  We're sharing a few scans below; look for the rest in the MU Digital Library soon.

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home Resources and Services, Special Collections and Archives God’s Trombones by James Weldon Johnson

God’s Trombones by James Weldon Johnson

This month's final post in our series celebrating African-American artists and writers brings together two greats of the Harlem Renaissance: James Weldon Johnson and Aaron Douglas.  Johnson was multi-talented: an educator, writer, attorney and musician, he was the author of "Lift Every Voice and Sing," a leader of the NAACP, and the first African-American professor at New York University.  God's Trombones is considered one of his most important works.  Douglas was one of the leading artists of the Harlem Renaissance.  He developed a distinctive style that blended modernism with African influences and was highly influential in the development of later African-American artists.

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home Resources and Services, Special Collections and Archives A fragment of a fifteenth-century gradual

A fragment of a fifteenth-century gradual

The Fragmenta Manuscripta collection is again the source of this week's feature.  It's a fragment from a fifteenth-century gradual in Latin, possibly from England.  Note the square musical notation on a four-line staff.  The staff here agree that we particularly like the face in profile added to the large initial.  More information at the Digital Scriptorium.

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home Resources and Services, Special Collections and Archives The Black Christ by Countee Cullen with illustrations by Charles Cullen

The Black Christ by Countee Cullen with illustrations by Charles Cullen

This post is the third in our series highlighting the work of African-American artists and authors in Special Collections.  Countee Cullen was one of the leading poets and intellectuals of the Harlem Renaissance.  This book of poetry, published at the height of his career, examines the relationships between faith and injustice.  Cullen draws parallels between the suffering of the crucified Christ and the suffering of African Americans in the climate of racial violence that characterized the 1920s. The copy in Special Collections is inscribed by Cullen to Frank Luther Mott, who was Dean of the School of Journalism from 1942 to 1951.

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Fragments from a Book of Hours

No librarian is happy to see a broken book, but we're lucky to have eight leaves from this sixteenth-century book of hours.  Two of the leaves in Special Collections were originally part of John Bagford's Fragmenta Manuscripta collection – meaning they were removed from the book by the late seventeenth century.  Bagford's fragment collection passed to St. Martin-in-the-Fields in the eighteenth century. The collection was sold in 1861 to Sir Thomas Phillipps, then to Sir Sydney Cockerell in 1913. In 1957, the collection was bought by the bookseller William Salloch, and it came to the University of Missouri in 1968.

The remaining parts of the manuscript (it's not clear how much) were eventually broken around 1920. In the 1980s, Margaret Howell, then director of Special Collections, noticed a set of six leaves on the market, and she was able to reunite at least a portion of this beautiful book of hours. 

All eight of the leaves are cropped in the same manner and show signs of damage from flooding in London in 1846. The manuscript was produced in the style of Geoffroy Tory, an influential type designer of the Renaissance.  This humanistic script may look printed, but it's all written by hand. See more in the Digital Scriptorium: Fragmenta Manuscripta #212, #213, and the six additional pages.

For a great recent overview of the topic of book breaking and its implications for libraries, see This Just In: Breaking Bad by David Whitesell at the Albert and Shirley Small Special Collections Library, University of Virginia.

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home Resources and Services, Special Collections and Archives The worst love letters no one’s ever read

The worst love letters no one’s ever read

In honor of Valentine's Day, we're posting a few pages from a one-sided collection of love letters that make up a French epistolary novel called Lettres de Bendé, a Monreset.  The novel has an imprint of Amsterdam (fictitious?), and is dated 1762.  A researcher in France recently emailed us with a question about this book, and in the course of our investigations we found that we have the only recorded copy, according to WorldCat.

It's always exciting to find a unique copy, but there may be a good reason for this title's near extinction.  This isn't a happy love story.  Friedrich Melchior, baron von Grimm, explains in a review published in his Correspondance litteraire:

Ce sont les lettres d'une femme qui aime et qui n'est point aimée. Ajoutez qu'elle ne mérite pas de l'être, car elle est insipide, guindée, sans naturel, sans grâce. Si ces lettres n'étaient pas si mauvaises, on serait tenté de croire qu'elles ont été confiées à l impression par une femme qui n'avait que cette voie pour apprendre à son amant sa situation et ses sentiments.

These are letters written by a woman who loves but is not loved. What's more, she does not deserve to be loved because she is dull, affected, stiff, and ungraceful. If these letters were not so bad, one would be tempted to believe that they have been entrusted to printing by a woman who had no other way of apprising her lover of her situation and feelings.

Ouch.  Are they really that bad?  You be the judge.  Brush up on your French, and take a look at the few, perhaps not-so-tantalizing pages we offer below; the rest will be freely available in our digital library soon.

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home Resources and Services, Special Collections and Archives King’s Letter from Birmingham City Jail with Prints by Faith Ringgold

King’s Letter from Birmingham City Jail with Prints by Faith Ringgold

This week we're highlighting Faith Ringgold's illustrations for Letter from Birmingham City Jail by Martin Luther King, Jr.  Produced in 2007 for the Limited Editions Club, the book contains eight original serigraphs by Ringgold alongside a beautifully printed text by King. Special Collections has copies 119 and 132 from an edition of 400.

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Faith Ringgold illustration from Letter from Birmingham City Jail by Martin Luther King

Faith Ringgold illustration from Letter from Birmingham City Jail by Martin Luther King

Faith Ringgold illustration from Letter from Birmingham City Jail by Martin Luther King

Happy 175th Birthday, Mizzou!

Today is the 175th anniversary of the founding of the University of Missouri on February 11, 1839.  We're joining in on the celebrations by sharing the very first University of Missouri catalog, one of the oldest items in the University of Missouri Collection.  It wasn't issued until 1843 – that's the first year the university had a senior class – but it's an important piece of our history and shows just how far we've come over these 175 years. 

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As you can see below, the first senior class was made up of five students – two of whom were named Robert Todd.  If you've been around Columbia for a year or two, you may recognize some of the other last names on buildings and street signs around town.

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There were no majors back then.  Everyone took the same course of study, which was divided into three sessions per year.

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"The University of Missouri having been permanently organized by the Board of Curators, and being now in successful operation, invites the candid attention of the public to its claims for general patronage."

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For more on the history of the university, check out the digital exhibits available through the University Archives.

Medieval Chess Problem

How about a little brainteaser with your Monday manuscript?  This is a chess problem from a fourteenth-century manuscript. It's Fragmenta Manuscripta #194.  The entire Fragmenta Manuscripta collection is online at the Digital Scriptorium.

Chess problem