Monuments vs. Documentary Editions: How Best to Remember the Past

A statue of Christopher Columbus outside the Minnesota State Capitol was taken down by American Indian Movement members on June 10, 2020.

We have all been thinking and talking about monuments, about how they are created, what they mean,  and when or whether they should come down.  Whether it is the toppling of the likeness of Christopher Columbus in Minnesota, efforts to remove the Robert E. Lee statue in Richmond, or the removal of Margaret Sanger’s name from Planned Parenthood of New York’s downtown clinic, the meaning of monuments and our understanding of the past is being challenged. Monuments are a problematic way to understand history. They are a one-note, simplistic way of claiming that a person  mattered to the people that put them up. Over time, they become something else, icons of the cities in which they are located, and a shorthand guide to a history that glorified mostly male and mostly white political and military leaders. They offer a simple message — hey, this guy was great! We understand the danger of this kind of simplification when talking about living people. We even have a phrase to warn us about the risks of doing it — putting someone on a pedestal — or to believe or behave as if someone  is perfect  to the extent that one ignores that person’s flaws or faults.

The Robert E. Lee Monument in Richmond has been defaced with graffiti. The governor announced plans to take it down on June 4, 2020, but this has been challenged in court.

And it is the faults and the flaws of the people we have honored with monuments that are being exposed now.  It is past time. No one, now or then, is perfect. How can we reconcile honoring an individual who owned slaves, or who fought against the Union, or who held racist, sexist, or eugenic views? On the flip side, how can we ignore the context of the times they lived in? Is it right to hold people to ahistorical standards of behavior? We have to place people in historical context, based on an understanding of what the world was like when they lived. This isn’t just making excuses or becoming an apologist for figures from the past.  We have to stop seeing people as either good or evil, heroes or villains, and instead be able to see the grey, to praise what they did well and condemn what they did that was intolerable. We have to stop putting them on pedestals.

A Better Way to Learn About the Past

A name on a sign or a building, or a statue doesn’t tell much about the person, for good or ill.

If a monument is too simplistic — too one-note — to convey the complexity of a human life and the historical times they lived in, what is the alternative? I would argue that it is the documentary edition, made freely available, that brings understanding of the complexities of the past. My career as a historian has been as a documentary editor, first with the Margaret Sanger Papers, and now with the Jane Addams Papers, so I may be biased, but I also speak from experience.

A documentary edition is not a film, it is a compilation of historical documents, prepared by scholars, on a theme of historical importance. It is usually centered around a single person’s life, but occasionally describes a group, such as the Freedmen and Southern Society Project or the Yale Indian Project’s Native Northeast Portal.

We center the work around the words of the historical figure

Much of the work of the editor revolves around finding, selecting, and transcribing the letters, speeches, diaries, and other texts produced by a historical figure. We use our historical training and long hours of reading literally everything a person wrote to select documents that offer a nuanced and complex view of that person’s life and career.

We don’t shirk from the negative or controversial. When selecting documents for the Selected Papers of Margaret Sanger, we made sure that her views on race, on eugenics, and on abortion were included alongside her views on women’s rights, civil liberties,  and reproductive freedom. With the Selected Papers of Jane Addams, we look to highlight Addams’s views on race, poverty and immigration, just as much as her ideas about social work and peace.

The Jane Addams Papers Project consists of a microfilm, print edition (6 volumes planned) and a digital edition based on the microfilm.

Many editions create two products. The first is a comprehensive edition, often digital nowadays, but in the past they were published on microfilm. These collections, resulting from years-long searches in archives and private collection, are extremely valuable for scholars because they bring together materials that were dispersed over the globe. The selected edition, often published in book form, though increasingly in digital form, takes the most historically significant materials and adds annotation, to create a readable series that tells a shorter, yet nuanced, story of the figure’s life.

We work really hard to make sure that the texts of the documents that you read in our editions are accurate and complete.  You won’t find snippets of texts removed or taken out of their context  in order to make an argument.  We proofread the transcriptions as many times as is needed to get a good, accurate text. The focus is on the document, and by reading them, one after another, you gain a deeper, personal understanding of the subject.

We provide historical context, but leave interpretation to you

Editions use annotation (headnotes, footnotes, and introductory texts) to give the reader a sense of the times, to fill in the gaps when the texts don’t do it. Editorial annotation is not the same as historical interpretation. This was brought to my attention when working on an early draft of my dissertation on birth control clinics, when my adviser, Linda Gordon, pointed out that I wasn’t disclosing what I thought about all the materials. My text was descriptive and it needed to be analytical and interpretive.  I was writing like an editor, carefully researching and describing situations, but not bringing my own views, ideas, and analysis to the foreground. Writing an interpretive narrative is a different animal, one in which your experiences and the times in which you live color the way that you approach a topic. Think about multiple biographies of the same person — the basics of their lives stay the same, but the questions we ask, the values we bring to the topic affect the way that we view and interpret the past. Editors aren’t immune to those same biases, but our approach is different.

Our annotation is document-driven. What I mean by that is that we look at the texts, written by our subjects, and explore their content. When a person or event or topic is mentioned, we add a footnote to explain who or what they are talking about. There is no better training than researching for a documentary edition.  You don’t get to decide that the topic is too hard and you can’t skip over things or change your research direction, like you might do in a monograph or term paper.  These notes are generally short and informational rather than interpretive, which teaches you to be precise and succinct. Reading the text with the footnotes helps the reader understand things that a contemporary reader would already know.  I liken it to reading with the town busybody standing over your shoulder, providing you with the backstory for each document.  Except that busybody is a historian.

Jane Addams to Theodore Roosevelt, August 24, 1912.

Annotation can also fill gaps in documentation. The nature of a selected edition is that we have left many, many documents out.  For example, we selected a letter written to Theodore Roosevelt from Addams in 1912 about her role in winning women to the Progressive Party. This was not the first letter written about the topic, so we use annotation to summarize what already occurred before that document was written. It brings the reader up to the now.  We also use annotation to refer readers to material in archives and in our comprehensive microfilm or digital edition where they can go deeper.

Where does interpretation fit in all this? After reading so much and researching every bit of a person’s life, editors do form opinions and interpretations. They might turn up in the introduction to a volume, a conference paper, a blog post,  journal article, or monograph. The litmus test, for me, is whether a person who doesn’t like the subject can use our work with confidence. Will they trust that you haven’t hid or obscured documents or other materials that could make your subject look bad? My favorite review of the first volume of the Selected Papers of Margaret Sanger was from the Weekly Standard, where David Tell wrote:

Somewhere, amidst the sucker punches and cries of foul, the truth must reside. And “somewhere,” it turns out, is the enormous and altogether dazzling selection of public and private records just put out by the manuscript curators at New York University’s “Margaret Sanger Papers Project.” They too, like the earlier biographers, unambiguously admire the woman. But they have done their editing with scrupulous care, they have annotated the documents they reproduce with monk-like dispassion, and on the face of it they have held nothing back. (January 27, 2003)

History for the Masses

Digital scholarly editions, made freely available, are a far better monument to the life of a historical figure than statues or buildings could ever be. They provide a historically accurate, nuanced look at a life. They show the moments of weakness as well as moments of great strength and more than biographies or statues ever can, they render historical figures as real people. People with problems, people who have difficult family members, who follow fad diets, watch plays and movies, and fully lived in their times. They also foster critical thinking about historical figures and moments. While editions won’t fit easily into 140 characters or a 15-second TikTok video; neither does history.

Who we select to be the subjects of editions matters

Editions don’t stand outside society, and there has been a long history of privileging the papers of white male politicians and military leaders. Whether the founding fathers, presidents, or generals, the subjects of these editions sound much like the names on monuments, and the names we all learned in history books. The editions of these papers provide a more nuanced view of those lives, including co-workers, rivals, families, and in some cases, slaves.

A statue of Jane Addams lifting an immigrant child on the campus of Cal State Fresno.

In the 1970s, the field began to open up, adding a handful of projects featuring women and African-Americans. But it is not enough. We need to broaden the topics of editions to include the voices of marginalized peoples. And we need to broaden the range of people who become editors, because more voices will reveal a more vibrant story of America’s past. Smaller projects, based on intriguing people reveal lives and stories that have been erased from popular notions of history.  It is happening, albeit slower than we would like.

Thinking again about monuments, I wonder if there might be an “edition-worthy” check before you put up a monument. Could you devote years of research, funding, and scholarly effort to create the Papers of Edmund Pettus? And after you had done so, exploring his ideas and providing context for his military career, his political views, and his leadership in the Ku Klux Klan, would you build a statue or name a bridge after him?

 

 

 

 

Visualizing Jane Addams’ Social Networks

I recently took a course on Gephi, an open-source network visualization tool offered by the Programming 4 Humanists group at Texas A&M University. This three-session Zoom-based course, taught by Katayoun Torabi was a great entry to a digital humanities topic that I have long been interested in.

One of our long-range goals at the Jane Addams Papers Project is to make the underlying data in the digital edition accessible so that digital humanists can use it for research. Having a chance to play around with network visualizations helped me to think through how we might use this tool to understand Jane Addams’s life and her causes in new and interesting ways. It also helped me better understand what we need to do to make data from our edition available.

A few ideas popped out immediately:

    • a visualization of Addams’s correspondence, modeled on the ideas used to create the Mapping Republic of Letters project at Stanford.
    • a visualization of how people in the Addams’ digital edition were connected via organizations, looking at for example, the interactions between women involved in the suffrage movement and the peace movement.

In this post we will look at correspondence networks.

Thinking About Data

The examples that Katayoun used in our class were all drawn from literature. We mostly worked with data from Shakespeare’s Hamlet, looking at instances of speech between characters to create visualizations of how the characters related to one another.

Here is my visualization of Hamlet using Katayoun’s data set. Central characters have larger circles and appear in the center, while less important characters are further out, smaller and have fewer appearances.

What struck me almost immediately was that the difference between this kind of analysis and what I hoped to do, was that with a literary work (or any single historical record), this analysis can provide an accurate representation of that text. As I thought about how we could this tool to understand the Jane Addams Papers, the problem of incomplete data reared its ugly head.

We have to understand that any visualization of the Jane Addams papers cannot fully be a visualization of Jane Addams’ lifeAddams’s papers are incomplete. We are missing many of Addams’ most intimate letters between family members and her long-time companion, Mary Rozet Smith. At best, we might be able to visualize more of her professional life than her personal one. But we are also missing many, many letters sent to colleagues and acquaintances that never made it into archives and private collections. Many of the papers of Addams’s European counterparts did not survive World War II. So what we are left with is an impression, a partial glimpse into her world, but an imperfect one.

What can counts of letters tell us about Addams’ life? When I first took on editing the Addams Papers, I tried to estimate (by counting entries in the microfilm edition index) how many documents we had in the base collection so that we could estimate how long the project would take. Even as basic a visualization as the one below can help you see the broadening of Addams’s life as she moved from a local activist to one who operated on a global scale.  It can give a rough visualization of when things happened in her life.

Counts from the microfilm index.

This red line (total documents) gives us a good sense of scale, and also the  years where we could expect the heaviest number of documents. In the first ten years (1901-1910) we had low document counts, which rose dramatically in 1912 (Addams’s participation in the 1912 presidential election), 1915 (Addams’s establishment of a peace movement in the U.S. and international peace congresses). Her activity through the 1920s and early 1930s remains high, with peaks in 1927 and 1931 (Addams’s Nobel Prize).

Looking at the lighter green line (letters written by Addams), we see a fairly consistent output until the end of her life. The only outlier is 1923, a year in which Addams was on a tour of Asia and then suffered from serious illness.  It is possible she wrote fewer letters, or fewer of them survived. Most of the dramatic peaks come from increases in incoming letters.

Anneliese Dehner, our web developer prepared a spreadsheet that represented the Item Relations for people in our digital edition. I was able to work with that in a rudimentary way to explore Gephi.

Nodes and edges

In network visualization there are two tables of information, nodes, which are unique objects, and edges, which link nodes by some kind of action. The hard work of network visualization is gathering all this data so that it can be displayed by Gephi or any other tools.

    • For a correspondence network, the NODES are the people in the database. They get an ID (in our case the Omeka ID number on our database) and a LABEL (the name of the person).
Here is a snippet from the Nodes table. Each name in the database is assigned a unique identifier.
    • The EDGES represent the letter. They contain an unique ID, a SOURCE (the ID number of the author of the letter) a TARGET (the ID number of the recipient of the letter) and a WEIGHT (the number of times that that same combination appears). They can also have a LABEL (the relationship — in this case “Written by”). The most common recipient, with 234 letters, is Sarah Alice Addams Haldeman (#50), the sister of Jane Addams. In second place is Emily Greene Balch (#501), a co-worker in the peace movement, donor Anita Blaine McCormick (#60) in third place, and social worker and settlement founder Lillian Wald (#33) in fourth place.
This table of edges show author Jane Addams’ (#5) most frequent recipients.
    • Another table of EDGES describes the people who were Mentioned in a document, not just the authors or recipients. This might get at a more representative understanding of Addams’s network because one could surmise that important people might be mentioned in letters even if the correspondence between those two people might be lost. And here we do see different results. On this table Mary Rozet Smith (#164), Addams’s companion comes out at the top, with Woodrow Wilson (#4596) coming in second, donor Louise DeKoven Bowen (#814) in third place, and Addams’s niece, Marcet Haldeman-Julius (#30) in fourth place.
This table shows the most commonly mentioned people in letters written by Jane Addams (#5).
Basic Visualization

My first visualization of the mentions data was, to be frank, underwhelming, unless you like big black boxes of goop!

There are simply too many points in this data!

We have over 10,000 names in the NODES table. To get to a visualization that is more legible, I excluded edges with less than 10 mentions in the correspondence.  Now that is readable! The weight of the line indicates the number of mentions.

These are the people mentioned the most in the digital edition, thus far.

I played with the appearances of our networks to make them easier to understand. Making the labels and the circle sizes proportional to the number of mentions allows you do see things more clearly.

The visualization is interactive. If I click on Paul Kellogg’s circle, only those names associated with him are highlighted– in this case a small subset of the network.

Paul Kellogg of the Survey’s network.

While Emily Greene Balch, a peace activist, is far more interconnected.

 

Emily Balch worked with Addams in the Woman’s Peace Party and the Women’s International League for Peace and Freedom.

The idea here is to explore the various networks that Addams built in her work for peace, social justice, social work, and other causes.

Next steps

Generating the data to build the NODES and EDGES tables requires some work, and filtering the data to get a meaningful result will be critical to creating data sets that the public can use. Our goal is to make this kind of data accessible to students and digital humanists to explore data visualization and Jane Addams.

We are still adding documents to the digital edition, so the first step may be building a dataset of correspondence for each year that we have completed.

In my next post, I’ll look at building a network using our data on people and organizational membership.

Jane Addams, Vachel Lindsay, and Me

History is, essentially, the stories of individual people and the interconnectedness of their stories to each other and to the broader history of their communities, their societies, and their world. The intersections of the lives of the historical figures who occupy my historical imagination are fascinating to me, and the people who inspired them are always central to the development of my understanding about their lives and the historical space they occupied. Jane Addams, for example, was an inspiration to an entire generation of female reformers who lived and worked at Hull-House, and the individual work those women pursued made an important impact on Addams’s world view, her writing, and her advocacy for social and economic justice. As well, her fascination with Tolstoy and her childhood memories of Abraham Lincoln offer us insights into the development of her ideas, her ideals, and her visions for reform.

As a historian, I spend a great deal of time thinking about these human connections of the past. The close relationships of the historical figures I study—like the intimate friendship between Jane Addams and Mary Rozet Smith or the professional relationship Addams shared with reformer and settlement worker Lillian Wald—offer obvious clues about Addams’s personal and professional life. The intersection of these particular personal stories tell me much about the lives of women in the first part of the 20th century, the network of Progressive Era reformers, and the conditions of life in the urban environments of Chicago and New York City. But as an enthusiast of the past, it really gets interesting for me when I chance upon an unexpected or less obvious historical connection. It is particularly thrilling when that connection also resonates in some way with my own personal story or relates to other historical interests I  entertain.

Recently, I was doing some editorial work on a set of documents dated just days after American entry into WWI. One document was a letter to Jane Addams, dated April 9, 1917:

My Dear Friend:

What shall I do? This war breaks my heart. Send me what you have written since [William Jennings] Bryan enlisted — for instance. Are you with Bryan? Do you accept President Wilson’s war message on its face value? Is that final with you?

I hate a hyphenated American. I hate war. But I owe no one in Europe a grudge. I would rather be shot than shoot anybody. If I had been in Congress I would have voted with Miss [Jeannette] Rankin and would have considered it a sufficient reason to say “I will not vote for war till she does.”

Please write me a tract, or send a clipping. With all respect

Nicholas Vachel Lindsay

Vachel Lindsay was a poet and performing artist who is relatively unknown today. He lived and worked in Springfield, Illinois, where I lived and work myself for more  than twenty years;, and, therefore, I am well acquainted with his body of work and the story of his life. When I read his letter to Addams, I recalled that Lindsay had written a poem about her, inspired by her peace trip to Europe in 1915. However, I was unaware he knew Addams personally nor that he had corresponded with her. The Jane Addams Digital Edition includes four letters from Lindsay to Addams, each revealing something of the poet’s respect for and fascination with Addams and with Hull-House. In an October 1916 letter, Lindsay proclaimed: “I have loved you a long time dear lady.”

That love had, indeed, inspired the poem I had remembered, “To Jane Addams at The Hague,” which Lindsay first published in the Chicago Herald  in May 1915 and later as part of his popular 1917 collection The Chinese Nightingale and Other Poems.

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In the 1910s, Lindsay spent time in Chicago performing his poems and seeing his literary friends, including the poet and magazine editor Harriet Monroe, with whom Addams was also acquainted. Lindsay frequented Hull-House, where his good friend George Hooker was a resident, and it seems likely he enjoyed at least one or two good talks with Addams. It is unclear when he might have been formally introduced to her, but in April 1916 he wrote her a letter indicating they had been corresponding for some time. That letter was a reply to a letter from Addams, and in it Lindsay sent her his wish that they may soon see a moving picture show together. There are no known extant letters of Jane Addams to Vachel Lindsay, but the content of his letters to her indicates she had some interest in the young man and his work, and in a speech in 1922, she quoted Lindsay’s analysis of the new medium of the movies in modern society.

Lindsay, who was associated with a group of celebrated Chicago writers that included Edgar Lee Masters and Carl Sandburg, was a creative and somewhat eccentric young man. He traveled the country on foot, selling his poems to support himself, and he popularized for a time the chanting and singing of poems, often performing them with musical and dance accompaniments. In December 1916, Lindsay invited Addams to one of those performances at the Little Theatre in Chicago. It is unclear if she attended, but there is evidence she invited Lindsay to Hull-House on a few occasions. In October of that year, Addams sent Lindsay a copy of her book The Long Road of Woman’s Memory, and in his letter of thanks he wrote: “I sat down and read it all morning and half the afternoon the minute it arrived. It is a lovely book—the work of a Greek, a woman more Greek than Christian.”

The fact that Lindsay, who was a progressive thinker, admired Jane Addams and her work is not surprising. Addams and Hull-House inspired many artists and writers, as well as reformers and social workers. Nor is it surprising that Lindsay, who spent time in Chicago and who interacted with people in the orbit of Hull-House, had a personal acquaintance with the famed settlement worker. What is surprising, and fascinating, too, is that Lindsay experienced a strong emotional connection to Addams. His friendship with her his touched soul, as one biographer put it. Lindsay looked to Addams for answers about his anxieties related to the war, sought her approval of his work, and shared with her his fears about failure. “Back of it all is the hope that my book shall be a live thing—a piece of ink-dynamite, not just a book pleasantly discussed by people who read my verses,” he wrote Addams in 1916. “With so many books dying before my eyes—I cannot bear to write a dead one.”

Lindsay had experienced his first hallucinations in 1904, initial signs of the future mental illness that would ultimately cost his him his life; and his breakup with the poet Sara Teasdale in 1914 had been emotionally traumatic for the poet. But by 1916, Lindsay was enjoying considerable literary success, winning awards and selling books. Although four letters is far, far, far from enough evidence to evaluate the emotional importance Lindsay may have been attaching to his friendship with Addams, a close reading of the letters, however, evokes a whisper of the mental distress that was coming. There is a breathless quality to the words and the sentences, and the letters leave me wondering what kind of advice or encouragement Jane Addams may have offered Lindsay in their face-to-face interactions with each other. It is unlikely we will ever know.

What I know for certain, however, is that the relationship between Lindsay and Addams, despite what it may have meant to her on a personal level, is an example of the richness of the interconnectedness of human stories, the broader sphere of one person’s influence in the world. In this case, it speaks to the significance of Jane Addams as an inspirational figure. But it is also one of those delightful connections I am happy to chance upon, which light a spark in my historical imagination and connect my own story to the stories of the past.

Notes: Anna Massa, Vachel Lindsay: Fieldworker for the American Dream, Bloomington: Indiana University Press, 1970, 17, 46, 100-101, 202; Eleanor Ruggles, The West-Going Heart: A Life O Vachel Lindsay (New York: W. W. Norton, 1959), 240, 247, 258; “Lindsay, Vachel (1879-1931), American National Biography; Vachel Lindsay to Jane Addams, October 15, 1916; Vachel Lindsay to Jane Addams, October 29, 1916; Vachel Lindsay to Jane Addams, April 9, 1917; Vachel Lindsay to Jane Addams, June 26, 1917, all in Jane Addams Digital Edition. William Jennings Bryan (1860-1925) was a Democratic politician from Nebraska. In April 1917, he offered his services to the government in the war effort. American National Biography. Jeannette Rankin (1880-1973), a peace activist and Republican politician from Montana, was the first woman to serve in Congress. She voted against the American declaration of war against Germany in 1917. American National Biography; Biographical Directory of the United States Congress. The image of Lindsay is courtesy of the Prints and Photographs Division, Library of Congress, Washington, DC.

Survey on Digital Editions

 
 
The Jane Addams Papers Project, in partnership with the University of Michigan School of Information, is exploring the user experience for both the Jane Addams Digital Edition and scholarly digital editions in general. If you are a student or a scholar who has used at least one print or digital scholarly edition in the past, we would be grateful if you could take 5–10 minutes to participate. The survey will be open until Wednesday 3/18. Responses are anonymous, but we will gather your email address at the end to enter you in a drawing for a Starbucks gift card!

Data Visualizations and Jane Addams

Last spring I had the pleasure of working with two undergraduate students, Taylor Lundeen and  Catie Olson, enrolled in the University of Michigan’s School of Information. They worked on a capstone project on data visualization, using our Jane Addams digital edition databases.  Anneliese Dehner, our web developer, helped out with the some technical aspects of the collaboration.

One of the many great things about digital publication is that the information we create can be reused and repurposed in ways that we might not have thought of. Making our data available to researchers to explore has been one of our goals from the start of our work on Jane Addams, and with this investigation we have learned what we can do fairly easily, and what is more complex.

 Accessing the Data

Our first step was to get a copy of our data exported out so that Taylor and Catie could work on it. What they found worked the best was an Omeka plugin (Omeka Rest API) that allowed them to export data in a format that worked well with data manipulation software.

Our ultimate goal is to have a utility on the digital edition that will enable users to download all or parts of the data for investigation.

One problem that reared its head immediately is that we have a very large dataset, and it is growing larger every day. This made it difficult, using the tools they had available to work with the whole set.

Natural Language Processing

One of the approaches, which Catie worked on, was seeing what we could learn from analyzing the “Text” field in our database, where transcriptions are stored. This kind of analysis can track the frequency of words, or compare word usage over time. Eventually it could be used for topic modeling, where a digital tool tries to make sense of words that appear together. These groupings can uncover connections that we sometimes don’t expect.

An important step in working with our texts was data cleaning, the process by which HTML and special characters were cleaned out and text was split word by word. Then Catie built bar charts that displayed the most common words. She built a separate chart for each year to allow us to compare years to see what Addams was thinking and writing about.

The most obvious finding to me, was that we needed to think about stop words — words that are excluded in the results because they are too common or have no analytical meaning. Articles, like “a” and “the” are common stop words– we also had to consider “page” which we use to signify the next page in our transcriptions, and, gulp, even “Hull House” because we transcribed the letterhead that Jane Addams used. Other words like “Mrs,” “Mr.” and “Miss” and salutations like “Dear” are candidates for being pulled from the analysis.

We also got to see the frequency of that nemesis of editors – “illegible.” This comes up far more frequently than I would like, but I was gratified to see that in the years where we have proofread the texts, the frequency is much lower.

It will surprise no one that “peace” and “war” shot to the top in 1915.

Frequency of words in 1915.

In 1905, the most frequent words deal more with the plight of children and represent Addams’ work on child labor and welfare in Chicago.

Frequency of words in 1905.

Catie also worked on another way to show the content of Addams’ writings, plotting the frequency of a word over time. Similar to the Google n-gram viewer that can compare the frequency of words in Google Books over time, this gives you a sense of the chronology.  We did not have the capacity at this point to allow users to type the words they want, but were able to produce n-grams for some of the most popular words.

Seen together, it is a little frightening, but on the live version on the site, you can select a single word to analyze.

The Top 50 Words, all in one place!
Tracking “peace” from 1901-1917.

The n-gram for “Illegible” shows the power of proofreading! When the data was downloaded for use, we had just finished proofreading 1915!

An n-gram of words we could not read.

Social Network Analysis

Another approach was to see what we could learn from social network analysis. Using Omeka’s Item Relations plugin, we have been tracking relationships — mostly between documents and the people, organizations, and events that are mentioned in them. We also are building connections between people and organizations, tracking which people were members of which organizations, for example, or who participated in a specific event.  We wondered whether the relationships between people and organizations might yield some interesting insights, or whether we could find other connections between people and the metadata gathered about them. Taylor was responsible for this project.

Our large dataset proved to be problematic for developing a meaningful social network based on shared connections. We think there is promise for this in future by controlling which people are included in the network, but the sheer number of people and the amount of common tags produced a daunting graph.

This plot includes only 270 Addams connections associated with Chicago. The full data on 8,000 names was too complex to load.

Instead, Taylor created a geographical visualization of Addams’s social networks related to several topics. We used our tags for movements like “Woman Suffrage,” “Child Labor,” and “Peace” and plotted their geographic locations.  Compare Addams’ Settlement Movement network and her Peace network below to see the expansion of her work internationally.

On the live version of these maps, you can zoom in and out and mouse over each dot to reveal the name of the activist.

Going Forward

It was amazing to see what two talented students could do in such a short period of time!  The experience has helped us think more about how we want to make our data accessible, and has uncovered challenges that we need to think about. Our database is large and complex and developing means to limit the queries is going to be important.

We are looking forward to working with other UMSI students and any digital humanists interested in advancing this work.

How Did You Find Me? Copyright Research at a 20th Century Edition

Write on Jane! Because she died in 1935, all Addams’ unpublished works are in the public domain.

One of the challenges that face 20th century editing projects, especially digital ones, is the need to obtain copyright permission. We are in the midst of researching and contacting heirs to the authors of letters in the Jane Addams Digital Edition. It is a complicated process, but one that is essential for historians, archivists and editors who publish materials online.

The Basics

  • Documents published before 1922 are in the public domain. That means newspaper articles, journal articles, books, and other materials.
  • Documents published after 1922 may be in public domain, but you will need to determine whether the copyright has been renewed.
  • Unpublished documents are in public domain if the author died more than 70 years ago. If the author was a company, they are in public domain if the document was written more than 120 years ago. That means letters, unpublished reports, articles and speeches.

The Numbers

We have identified over 4,500 individuals and 600 organizations thus far in our work for the digital edition. Not all of these people wrote letters — some received the letter and others were merely mentioned in it. We do not need to clear permission for those individuals and organizations.

The Process

The Jane Addams Digital Edition tracks all mentions of people in documents. As our editorial assistants enter each document, they create links to the people already in the edition. For example, in a letter written to Jane Addams by Vida Dutton Scudder, we might record eight personal names — the author (Scudder), the recipient (Addams) and the names of four people mentioned.

If one or more of these people are new to the digital edition, the editorial assistant creates a new record for that person. While we don’t do a lot of research at this point on that person, we do try to secure birth and death dates. This year, the magic number is 1947. If our person died before 1947, we can mark their rights as public domain. Any documents written by them are all set for publication.

If, however, we cannot locate a death date, or we locate a date after 1947, we need to conduct some research. Editorial assistants flag the person’s record as copyright permission “pending.”  We do this for all new names, whether or not they are authors.

As we move toward proofreading metadata and transcriptions for publication, we generate a list of all the documents in a given year that are not ready to publish. When we were not able to locate a death date, the editor will make another attempt to find it, and hopefully clear the documents. We are then left with a list of authors that are not in the public domain.

Our copyright research squad consists of two people, researcher Ellen Skerrett and project assistant Nina Schulze get down to the nitty gritty of copyright research.

Research

There are a number of ways to try to locate the copyright holder of a deceased author.

  • If the person’s papers are stored at an archive, you can contact them. Often times they will have some information about the person who donated the papers, or have contact with family members. A good site to search for archival holdings is Archive Grid.
  • If the person is a published author, you may be able to contact their publisher, who may know who controls the copyright on the book, or who gets royalty payments. That can lead you to the next link in the chain.
  • Otherwise, we hope to find the children, grandchildren, great-grandchildren, or more distant relatives. Many people never dedicated their literary rights in a will, but they are assumed to fall to the heirs.

We use the genealogy site Ancestry.com and the digital newspaper site Newspaper.com, among other resources, to try to locate heirs. We look for the names of children in the available U.S. Census records, newspaper articles and obituaries, and other web-based resources. Obituaries are an invaluable resource because they update the names, especially of daughters who might have married, and in many cases provide the city or state where those survivors. We then use internet directories and phone books to try to locate current addresses.

Some people are easier to find than others. People with common surnames can be all but impossible, especially those who lived in large cities. When a person left no children, we try to go up the family tree. looking for a brother or sister, to find nephews, nieces, or cousins.  It is usually easier to locate famous people’s families — the chances are better of finding a long and detailed obituary.

We then write a letter, hoping that we have gotten the right person, and wait for a result. These letters are fun to receive, often enclosing a letter written by an ancestor to Jane Addams that opens up a new story a family’s history. Family members are often amazed and intrigued to know how we were able to find them.

Good faith efforts

We are allowed to publish without securing copyright if we make a good faith effort to locating the heirs. For us, this means following all leads that we can find, tracking all known children. One of the ways that we keep looking after we have exhausted all leads is to post the names of people we still seek on our website. The hope is that you might Google an ancestor and find the project’s site, even if we can’t find you!

If you think your (great) grandmother knew Jane Addams….

We are still searching for more Jane Addams letters. If your family history involves an late 19th or early 20th century social reformer, peace activist, or settlement worker, or if your family had roots in Chicago or worked for woman suffrage, we would love to hear from you. We can check to see whether we have any letters in the archives we have searched, and would be delighted to include any letters your family might still hold.

 

 

Addams Papers Joins SNAC

I am pleased to announce that the Jane Addams Papers will be joining the Social Networks and Archival Context (SNAC) Cooperative in its final phase of work. SNAC has been hosted by the University of Virginia’s Institute for Advanced Technology in the Humanities and the University Library and funded by the National  Endowment for the Humanities (2010-2012) and the Andrew Mellon Foundation (2012-2017). The Cooperative seeks to improve the economy and quality of archival processing and description, and build a global social-document network using both computational methods and human curation.

I first came across the SNAC web portal when doing research for biographies for our digital edition. SNAC provides biographical information, links to archival collections, and to related people, families and organizations.

I decided that we would make SNAC one of our go-to resources for our biographies. We link all our biographies to the SNAC record to enable our researchers to locate an ever expanding list of resources on that person. SNAC imports data from finding aids, Wikipedia entries, and other sources. As we made links between our biographies and theirs, I started to wonder whether we might be able to contribute materials as well. I reached out to Daniel Pitti, the project director.

The Jane Addams Papers is not an archive, but an edition, and I wasn’t exactly certain how what we we would interact with SNAC. With only two years of work under our belts, we have identified over 4,500 individuals, who wrote letters to Jane Addams, received letters from her, or were mentioned in the documents. Our individuals range from historical figures, like Plato and Wat Tyler, to Chicago police George Shippy and John McWeeny. We have over 100 suffrage activists, including Catherine Karaveloff, Carrie Chapman Catt, and Zofia Golińska-Daszyńska. There are philosophers, criminals, homemakers, and union leaders, and over 200 social workers and welfare activists. About 60% of the names we have linked thus far are men and 40% are women.

The people who come up in Addams’  documents are primarily American, but we have increasing numbers associated with Europe and Asia as Addams broadened her reach and networks. The screen shot below of our map view of individuals will change as we deal with more of Addams’s international peace work.

 

We are looking forward to seeing how SNAC can work with data coming from our Omeka-based digital edition.  We will not be the only editing project joining at this time, the Walt Whitman Archive is also coming on board.

I will keep you posted as the work begins.

 

Jane Addams: Taking a Stand

This spring, the Jane Addams Papers Project was delighted to help fund two eighth grade students, Lucy Roberts and Lindsey Alexander, from Chamblee Middle School in Georgia present their ten-minute performance on Jane Addams at the National History Day competition.  The students advanced through their regional and state competitions and needed some help funding their trip to Maryland and the national contest.  When preparing for the competition, they relied on the Jane Addams Digital Edition to provide primary source materials.

“National History Day requires projects to have a variety of sources, both primary and secondary,” said Lucy Roberts, who portrayed Jane Addams in the performance. “The Jane Addams Papers was so organized and helpful to help with primary sources. As far as the actual sources themselves, we used her letters and speeches to learn about her thoughts and political views.”  The girls used excerpts from Addams’s autobiographies, which they found on the digital edition, as well as her opinions on immigration and labor to make their performance more historically accurate.

“What I think was the most interesting thing about Addams was her work as the city’s garbage collector. To me that was not only pretty surprising but admirable as well,” added Lucy.

National History Day invites students between sixth and twelfth grade to research a historical topic based on an annual theme and present their findings in a creative style manner as documentaries, research papers, exhibits, performances, or websites.  With this year’s theme called “Taking a Stand in History,” Lucy and Lindsey were assigned to research Addams in class.

Lucy and Lindsey’s performance, “Jane Addams: Taking a Stand,”  opened at Addams’s funeral in Hull-House in 1935.  Lindsey, portraying a resident, passionately recited a eulogy about Addams and her life.  Then, the play took the audience back in time by dramatically portraying Addams’s most significant accomplishments, such as becoming valedictorian at Rockford Seminary, co-founding the Hull-House, opposing World War I, and winning the Nobel Peace Prize.  As Addams, Lucy used direct quotes from Addams’s letters and speeches, and Lindsey acted as a variety of Addams’s associates, such as Ellen Gates Starr, a Chicago Tribune reporter, and a poor immigrant, providing context for Addams’ views.

“Performing was much more difficult than I expected,” said Lucy. “There are a billion things you need to think about: facing the audience, speaking clearly, remembering your lines, blocking, props, etc. That’s why I enjoyed it so much. Not only do I love a challenge, but I got to see an idea turn into something tangible and real.”

Lucy enjoying time in Baltimore

Lucy and Lindsey did not win the national award, but thoroughly enjoyed the experience and their sightseeing in Baltimore. They visited Inner Harbor, the National Aquarium, and Hard Rock Café. “I really enjoyed that because the hard work was over and we could finally relax and enjoy the city,” said Lucy.

We are glad to have been able to help the girls have such a rewarding experience and congratulate them on their success.

The theme for 2018 is: Conflict and Compromise in History.

NJ Council for the Humanities Awards Jane Addams Papers Funds to Enhance Use of the Digital Edition by Students

We are delighted to announce that the New Jersey Council for the Humanities has awarded the Jane Addams Papers a grant of $11,400 for our “Expanding Audience Participation with the Jane Addams Papers” project.

This project aims to encourage use of the digital edition among students, teachers, and the general public. We will  build a crowdsourcing site where members of the public can engage with documents, create transcriptions, and rate the documents to build a new search option to highlights the most useful documents. We also want to encourage students to work with the digital edition, and will create guides for high-school and grammar school students working on National History Day projects and school projects. These tutorials will introduce topics, provide suggestions for the best texts and search strategies for that topic, and suggest sources for further research.

We will be collaborating with students in Ramapo’s Teacher Education program, with the New Jersey National History Day coordinators, and local middle and high school teachers to develop these new resources on our digital edition site.

The Jane Addams Papers’ mission is to digitize and describe the documents, and create historical context for them by identifying the people, organizations, and events mentioned in the texts. We have received funding from Ramapo College, the National Historical Publications and Records Commission, the National Endowment for the Humanities, the Gladys Krieble Delmas Foundation, and the Ruth McCormick Tankersley Charitable Trust  to undertake this work.  But we want to do more than build a site and hope that people will use it. Scholars and advanced students will find our site, but this outreach project will advance our mission by reaching out to students, teachers and the general public.

We think the best way to do that is to provide crowdsourcing opportunities and offer guides for using the documents in the classroom. National History Day is a very popular program that challenges students in middle and high school to interpret history through one of twelve general themes.  For this year’s theme “Conflict and Compromise in History,” we advised students to look at Addams’ opposition to World War I, or her decision to open the Hull-House settlement, pointing them to the best documents and providing them with context. We will continue to expand the guides by adding more suggestions as we mount more material on the site. We also want to create topic guides for other issues, such as child labor, woman suffrage, and recreation.

We are looking forward to getting started on this exciting collaboration and will keep you posted on the results.

 

 

 

 

The Addams Papers Goes International!

Connemara, Ireland.

The Third Women’s History in the Digital World conference was held on July 6-7, 2017 at Maynooth University in Ireland and the Jane Addams Papers presented a panel on our digital edition. Editor Cathy Moran Hajo, Assistant Editor Victoria Sciancalepore, and our web developer Anneliese Dehner combined to present three aspects of “Editing Jane Addams.”

Cathy led off the panel talking about the “Big Picture: Conceiving a Digital Edition of  Jane Addams’ Papers,” providing a short history of the Addams Papers microfilm and book projects, and the process that went into deciding to digitize the microfilm edition. The decisions to be made involved thinking through the audience for the edition and what kinds of tools and resources they needed. In addition, Cathy discussed the decision to use the Omeka database-driven platform for the digital edition rather than using text encoding using XML. Going with a web-publishing friendly system allowed the Addams Papers to design a site that not only provides deep metadata, but also manages the project’s internal workflow, tracking information on each document as it passes through our permissions and copyright checks, metadata and transcription, and proofreading. Cathy also talked about her desire to see the Addams Papers edition be flexible enough that scholars and students can use its materials to build their own research projects.

Cathy talking about biographical resources.

Tori’s talk, “The Nuts and Bolts: How an Omeka-based Digital Edition Works,” brought us into the back end of the project, showing how we defined the metadata and relations between the 21,000 eventual documents, and the entries on people, organizations, publications, and events that are discussed in them. She described the use of the Items Relations Omeka plugin, which we tweaked some, to build an edition that lets users move flexibly between drafts and final versions, letters written by and to a person, and individuals who were members of an organization, or participated in an event.  She also talked about how we decided on a transcription policy.  Because we make the images of the documents available on the site, we wanted our transcriptions to be more useful as a search mechanism. We decided to standardize our transcriptions  (converting British spellings, archaic spellings, and misspellings) as long as we used brackets to signal that the editors had changed the text. Readers who want to see the original need only click to see the manuscript image. She also discussed our student workers at the Addams Papers–the engine that keeps the project moving. With editors focused on training and quality control, it is a cadre of 10-15 Ramapo College undergraduates that are entering and transcribing documents and researching and writing identifications.

Anneliese, Cathy, and Tori after the session at Kilmainham Gaol Museum

Anneliese discussed “Designing a User Interface for a Digital Edition.” Coming from the perspective of a digital library developer, Anneliese talked about her experiences working on the Jane Addams Papers and the Kentucky Civil War Governors Papers, also an Omeka site. Discussing the different values that the project had, she walked through the way that developers work with editors to configure their sites, looking at who the intended users of the site will be, the kinds of searching they will need, and how much metadata should be used for site navigation. Anneliese noted that the Addams site was interested in exposing metadata, developing spatiotemporal context for documents, and creating branching paths through the edition. The Kentucky Governors project looked to create a more linear path through documents, but were more interested in presenting transcriptions alongside images of documents.

Liz Stanley gave a keynote talk on the Olive Schreiner Letters Online

In addition to our panel session, we were able to learn about some extremely interesting projects in women’s history, both here in the U.S. and abroad. Rachel Love Monroy, Lauren N. Haumesser and Melissa Gismondi discussed the Founding Women project that seeks to build a federated documentary edition of a variety of women’s papers. Eric Pumroy spoke about Collegewomen.org, which seeks to build an inclusive resource about late 19th and early 20th century college experiences for women. Cécile Gotdon spoke about Ireland’s Military Pension Project, a fascinating look at detailed records of men and women involved in the Irish military between 1916-1923.  And Alvean E. Jones’ work to provide access of the history of St. Mary’s School for Deaf Girls in a way that makes it accessible to deaf scholars, by translating digitized material into Irish Sign Language videos. Helena Byrne discussed a project to gather a digital history of Irish women’s indoor football leagues in the 1960s. And Liz Stanley gave a wonderful presentation on the Olive Schreiner Letters Online and the difficulty of representing a person from the things left behind.

Thanks to all who attended for a fascinating time!