When the stupid *$&@___ in front of you in line can’t make up their *@($-ing mind, don’t you just want to pull out your hair and tell them what an %*$%&*! they’re being? But you can’t. Why? Because there are children around. And because we live in a “civilized” society where doing such things would get you kicked out. After all, you just want your #$*(-ing coffee! Four letter words won’t save you this time. You’ll have to get more creative.
The Archives and Rare Books Library will be closed on Friday May 20. We apologize for any inconvenience. If you have any questions, please contact us by phone at 513-556-1959 or by email at email@example.com
One of the strengths of the rare books collection in the Archives & Rare Books Library is 18th c. British literature, encompassing poetry and drama, history, political treatises, social commentary, and homiletics among several genres. And, these works are complemented by materials for the same time period from the Continent, particularly France and Germany. Brought together, these important volumes highlight the Age of Enlightenment, that period of intellectual development and reasoning that took place in Europe between the seventeenth and eighteenth centuries. To “enlighten” is to provide knowledge or understanding to and indeed, this chapter of European history introduced significant developments in art, philosophy, science, and politics. Continue reading ARB and the Enlightenment
The Fresh Painters Club was considered controversial due to the type of plays it put on—nothing was off-limits. Perhaps the nature of the club was influenced by the free spirits who participated. One such spirit was Libby Holman. Nineteen Twenty-three, the year the club was founded, she played the role of Violet Fields in “Fresh Paint.” Having dreams and talent too big for her hometown, she left for New York in 1924.
Born Elizabeth Holzman, her last name was changed sometime after her uncle, Ross, embezzled $1 million dollars from the stockbrokerage he owned with Libby’s father. Mr. Holzman changed the family’s name not only because of the anti-German attitudes in America at the time, but because he most likely wanted to save his kin from being attached to such an outrageous scandal, and because he needed to detach himself from the Holzman name so he could find work. This was only the first of many scandals with which Libby would be associated. Continue reading Libby Holman: Fresh Painting the Town Red
I’m a little late on posting a few big Shakespeare things. I promise they’re coming. In the craziness that has been finals, Kevin decided maybe I would like a little break from the Bard. (He was right.) He suggested I try painting for a little—and by that he meant looking into the Fresh Painters Club that was once a major extra-curricular at the University of Cincinnati. Conveniently, there was a history of the club that was written several decades ago. Though I don’t know who wrote it or exactly when it was penned, he or she explained the organization far better than I can. The text is as follows:
ANALYSIS OF THE FRESH PAINTER ACTIVITY
OF THE UNIVERSITY OF CINCINNATI.
Looking backward, the Fresh Painters has developed from an old Varsity tradition. Every year during the period between 1900 and 1921, students gave a revue called “Varsity Vanities”. These revues were disconnected sets depicting the frivolities of campus life, and demonstrated singing, dancing and acting talents of undergraduates. Every spring the varsity Vanities Committee was organized and the revue was produced. Continue reading Fresh Painters Club
What’s more chilling than a good book? Perhaps the ghost that guards them. It’s been awhile since my encounter…but I decided that the world needed to know about our much rumored ghost.
Whether it is a he or she, we cannot say. For the sake of time and space, let’s call it a “he.” He resides in our rare books room here in the Archives & Rare Books Library in Blegen—one level above the library space that is open to the public. Some background on the rare books room: it’s cold (necessary for preservation), it’s dark, (again, necessary), and it’s spooky (necessary for preservation?). When you get up the stairs and open the massively heavy door, all the lights are off. Each individual row of book shelves has its own light. Last year, one didn’t. Continue reading Tales from the Rare Books Room
It’s always a surprise what you’ll find when you go up to the rare books room. Last week, Kevin (our head here in the Archives & Rare Books Library) asked me to go find half-a-dozen beautiful Shakespeare volumes for a presentation given to the dean’s advisory committee. I went upstairs. There were the Charles Knight editions. They’re nice, but we’ve done so much with those already. I pulled the Rackham, Dulac, and Thompson volumes, because they’re classic illustrations that everyone enjoys seeing. I still needed at least three volumes…
Do you like games? Are you good at finding things? (We’re looking at you, Hufflepuffs!) Know any Shakespeare? GREAT! Join us in our Shakespeare Quote Scavenger Hunt!
On Tuesday, March 29th, we hid 5 Shakespeare Quotes around campus. They could be anywhere! Here’s the idea: You follow us on Facebook and Twitter to get the most up-to-date clues. You find one of the quotes we hid. You bring it to the Archives and Rare Books Library on the 8th floor of Blegen. You tell us the Shakespearean work the quote is from. We give you a prize! (And these are good prizes. You want it. Yes. YOU.)
Born August 21, 1872 in Brighton, England, illustrator and author Aubrey Beardsley served as a prominent, albeit controversial, figure within the London Art Nouveau and Aesthetic movements of the late 19th century.
Relocating to London with his family in 1883 when he was eleven years old, an adolescent Beardsley began to study drawing and literary arts while still in primary school. It was not until 1892, however, when he attended formal classes at the Westminster School of Art that Beardsley decided to pick up art as a profession. He most often worked in a plain black and white style, with the detailed application of black ink. His most famous illustrations depict themes of history and mythology. Examples of such works can be seen in Beardsley’s illustrations for his contemporary Oscar Wilde’s play, Salome (1891). Continue reading The Art of Aubrey Beardsley
Miriam Urban was the only female professor in the history department during the 1920s and ‘30s. During this period of common discrimination against women in higher education, she fought to get tenure. Urban earned her bachelor’s degree from UC in 1915 and her master’s degree in 1917, earning a PhD from Columbia University before joining the UC faculty in 1920. Her field was European history and though she taught at the University of Cincinnati for 33 years Urban was not promoted to full professor until 1944.
Described as wearing shapeless tweed with white blouses, along with multiple glasses strung with black ribbons around her neck, students also commented that her hair was usually in “disarray.” Despite her “hot mess” eccentricities, Urban was a delight to her students, even though she was known to kick a dozing student in the shins or thump someone on the head with a pencil. She would signal the end of the class period by snapping her girdle.
Charlotte Shockley, a 1937 graduate in English from the Liberal Arts College, wrote, “Miss Urban’s dark eyes glittered as she likened Hitler to a ‘takeoff on Groucho Marx.’” Continue reading National Women’s Month – UC’s Miriam Urban