The South Caroliniana Library, located on the historic Horseshoe of the University of South Carolina campus in Columbia, is one of the premier research archives and special collections repositories in South Carolina and the American Southeast. The library's holdings—manuscripts, published materials, university archives, and visual materials—are essential to understanding the Palmetto State and Southern culture as it has evolved over the past 300 years. When opened as the South Carolina College library in 1840 it was the first freestanding academic library building in the United States. Designed by Robert Mills, architect of the Washington Monument, it is built in the Greek Revival style and features a replica of the reading room that once housed Thomas Jefferson's personal library in the second Library of Congress. When the college built a larger main library (now known as the McKissick Museum) in 1940, the Mills building became the home of "Caroliniana"—published and unpublished materials relating to the history, literature, and culture of South Carolina. Through a dedicated mining of the resources this library has held, art historian John M. Bryan crafted this comprehensive narrative history of the building's design, construction, and renovations, which he enhanced with personal entries from the diaries and letters of the students, professors, librarians, and politicians who crossed its threshold. A treasure trove of Caroliniana itself, this colorful volume, featuring 95 photographs and illustrations, celebrates a beautiful and historic structure, as well as the rich and vibrant history of the Palmetto State and the dedicated citizenry who have worked so hard to preserve it. A foreword is provided by W. Eric Emerson, director, South Carolina Department of History and Archives.

A guide to managing data in the digital age. Winner of the ALCTS Outstanding Publication Award by the Association for Library Collections & Technical Services, Winner of the Waldo Gifford Leland Award by the Society of American Archivists Many people believe that what is on the Internet will be around forever. At the same time, warnings of an impending "digital dark age"—where records of the recent past become completely lost or inaccessible—appear with regular frequency in the popular press. It's as if we need a system to safeguard our digital records for future scholars and researchers. Digital preservation experts, however, suggest that this is an illusory dream not worth chasing. Ensuring long-term access to digital information is not that straightforward; it is a complex issue with a significant ethical dimension. It is a vocation. In The Theory and Craft of Digital Preservation, librarian Trevor Owens establishes a baseline for practice in this field. In the first section of the book, Owens synthesizes work on the history of preservation in a range of areas (archives, manuscripts, recorded sound, etc.) and sets that history in dialogue with work in new media studies, platform studies, and media archeology. In later chapters, Owens builds from this theoretical framework and maps out a more deliberate and intentional approach to digital preservation. A basic introduction to the issues and practices of digital preservation, the book is anchored in an understanding of the traditions of preservation and the nature of digital objects and media. Based on extensive reading, research, and writing on digital preservation, Owens's work will prove an invaluable reference for archivists, librarians, and museum professionals, as well as scholars and researchers in the digital humanities.

In the year 1800, South Carolina was home to more Jews than any other place in North America. As old as the province of Carolina itself, the Jewish presence has been a vital but little-examined element in the growth of cities and towns, in the economy of slavery and post-slavery society, and in the creation of American Jewish religious identity. The record of a landmark exhibition that will change the way people think about Jewish history and American history, A Portion of the People: Three Hundred Years of Southern Jewish Life presents a remarkable group of art and cultural objects and a provocative investigation of the characters and circumstances that produced them. The book and exhibition are the products of a seven-year collaboration by the Jewish Historical Society of South Carolina, the McKissick Museum of the University of South Carolina, and the College of Charleston. Edited and introduced by Theodore Rosengarten, with original essays by Deborah Dash Moore, Jenna Weissman Joselit, Jack Bass, curator Dale Rosengarten, and Eli N. Evans, A Portion of the People is an important addition to southern arts and letters. A photographic essay by Bill Aron, who has documented Jewish

This volume provides unique insight into how American colleges and universities have been significantly impacted and shaped by college football, and considers how U.S. sports culture more generally has intersected with broader institutional and educational issues. By documenting events from the nineteenth and twentieth centuries including protests, legal battles, and policy reforms which were centred around college sports, this distinctive volume illustrates how football has catalyzed broader controversies and progress relating to race and diversity, commercialization, corruption, and reform in higher education. Relying foremost on primary archival material, chapters illustrate the continued cultural, social, and economic themes and impacts of college athletics on U.S. higher education and campus life today. This text will benefit researchers, graduate students, and academics in the fields of higher education, as well as the history of education and sport more broadly. Those interested in the sociology of education and the politics of sport will also enjoy this volume.

Entertaining and informative, Pets in America is a portrait of Americans' relationships with the cats, dogs, birds, fishes, rodents, and other animals we call our own. More than 60 percent of U.S. households have pets, and America grows more pet-friendly every day. But as Katherine C. Grier demonstrates, the ways we talk about and treat our pets--as companions, as children, and as objects of beauty, status, or pleasure--have their origins long ago. Grier begins with a natural history of animals as pets, then discusses the changing role of pets in family life, new standards of animal welfare, the problems presented by borderline cases such as livestock pets, and the marketing of both animals and pet products. She focuses particularly on the period between 1840 and 1940, when the emotional, behavioral, and commercial characteristics of contemporary pet keeping were established. The story is filled with the warmth and humor of anecdotes from period diaries, letters, catalogs, and newspapers. Filled with illustrations reflecting the whimsy, the devotion, and the commerce that have shaped centuries of American pet keeping, Pets in America ultimately shows how the history of pets has evolved alongside changing ideas about human nature, child development, and community life. This book accompanies a museum exhibit, "Pets in America," which opens at the McKissick Museum in Columbia, South Carolina, in December 2005 and will travel to five other cities from May 2006 through May 2008.

"A history of Floyd McKissick's 1969 plan to build a Black city in North Carolina, examining the story of the idealists who settled there, the obstacles that derailed the project, and what Soul City's saga says about Black opportunity, capitalism, and power then and now"--

A gripping exploration of the joys, hardships, and truths of Black students through intimate, honest dialogues and stunning photography, author of Heavy “A radical, reverential, and restorative document of community.”—Rebecca Bengal, author of Strange Hours: Photography, Memory, and the Lives of Artists When photographer Adraint Bereal graduated from the University of Texas, he self-published an impressive volume of portraits, personal statements, and interviews that explored UT's campus culture and offered an intimate look at the lives of Black students matriculating within a majority white space. Bereal's work was inspired by his first photo exhibition at the George Washington Carver Museum in Austin, entitled 1.7, that unearthed the experiences of the 925 Black men that made up just 1.7% of UT's total 52,000 student body. Now Bereal expands the scope of his original project and visits colleges nationwide, from Historically Black Colleges and Universities (HBCUs) to predominantly white institutions to trade schools and more. Rather than dwelling on the monolith of trauma often associated with Black narratives, Bereal is dedicated to using honest dialogue to share stories of true joy and triumph amidst the hardships, prejudices, and internal struggles. Using an exciting and eclectic design approach to accompany the portraits and stories, each individual profile effectively conveys the interviewee's unique voice, tone, and background. The Black Yearbook reframes society's stereotypical perception of higher education by representing and celebrating the wide range of Black experiences on campuses.

Renowned for its accuracy, brevity, and readability, this book has long been the gold standard of concise histories of the Napoleonic Wars. Now in an updated and revised edition, it is unique in its portrayal of one of the world's great generals as a scrambler who never had a plan, strategic or tactical, that did not break down or change of necessity in the field. Distinguished historian Owen Connelly argues that Napoleon was the master of the broken play, so confident of his ability to improvise, cover his own mistakes, and capitalize on those of the enemy that he repeatedly plunged his armies into uncertain, seemingly desperate situations, only to emerge victorious as he "blundered" to glory. Beginning with a sketch of Napoleon's early life, the book progresses to his command of artillery at Toulon and the "whiff of grapeshot" in Paris that netted him control of the Army of Italy, where his incredible performance catapulted him to fame. The author vividly traces Napoleon's campaigns as a general of the French Revolution and emperor of the French, knowledgeably analyzing each battle's successes and failures. The author depicts Napoleon's "art of war" as a system of engaging the enemy, waiting for him to make a mistake, improvising a plan on the spot-and winning. Far from detracting from Bonaparte's reputation, his blunders rather made him a great general, a "natural" who depended on his intuition and ability to read battlefields and his enemy to win. Exploring this neglected aspect of Napoleon's battlefield genius, Connelly at the same time offers stirring and complete accounts of all the Napoleonic campaigns.