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FREE REGISTRATION REQUIRED. Digital archive of recordings and texts in more than 130 indigenous languages of Latin America and scholarship on those languages. AILLA provides audio recordings and transcripts of books, ceremonies, chants, commentaries, conversations, correspondence, curses, datasets, debates, descriptions, documents, drama, educational materials, ethnographies, field notes, grammars, greetings and leave-takings, histories, instructions, instrumental music, interviews, lexicons, meetings, myths, narratives, oratory, permissions, photographs, poetry, prayers, procedures, proverbs, readers, recipes, sketches, songs, speech plays, theses, unintelligible speech, and wordlists.
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Barsanti, Michael and Evelyn Feldman. "Paying Attention: The Rosenbach Museum's Marianne Moore Archive and the New York
Moderns." Journal of Modern Literature 22. (Autumn 1998): 7-30.
Barsanti and Feldman represent the Rosenbach Museum and Library, which houses the largest archive of Moore's writings in the country, as well a recreation of Moore's Manhattan living room. In connection with a 1997 exhibit entitled Making It New: Marianne Moore and the Visual Arts, the two seek to give Moore's writing environment and process of composition greater public exposure. They focus on her library of over two thousand volumes, organized according to her unique system. Among literary works could be found books Yiddish expressions, Charlie Chaplin, religion, hunting, and natural history. Many books contain a personal index inscribed by Moore. Moore also kept all the various editions of her work, including manuscripts and drafts, suggesting that she wanted a record of the revisions she wrought over the years.
Concerning Moore's process of writing, Barsanti and Feldman relay the archive's proliferation of newspaper clippings, transcribed conversations, and baseball accounts, all of which would have served as raw material for Moore's poetry. They quote Moore describing a moment of inspiration, whereby a book calls up an association and both quotation and association survive in the finished product. Moore refers to her poem "Marriage" as "statements that took my fancy that I tried to arrange plausibly," most of which aren't Moore's. These material forms of "paying attention" interact with copyright law insofar as much of the language Moore mines for her poems is copyrighted, and that the practice constitutes a fundamental part of her poetics.
tagged archive marianne_moore modernism visual_arts by fedors ...on 09-APR-09
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