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This article aims to reconsider some key aspects of the classical concept of "provenance". To do this, we draw on our experience working with two personal archives from the South: one from Argentine physicist and mathematician Carlos Mallmann, and the other from Italian-Argentinian sociologist Gino Germani. Unlike State archives in which preserving, organizing, identifying, and standardizing public documents are a regulated obligation, the safekeeping of documents in the case of personal records is a contingency. They must overcome multiple obstacles: interventions by their custodians, difficulties in their serialization and standardization, etc. However, we will argue that some sections of personal records, especially when their creators have played institutional roles, can function as institutional archives and even as public archives. In the case of the peripheries, this feature becomes an important patrimonial aspect, given the constitutive fragility of public archives. This fragility relates to problematic issues of statehood, such as hegemony, domination, and sovereignty. We argue that these archives are constitutively incomplete, precarious, contaminated, and hybrid, leading us to problematize some aspects of the archival ratio. The latter (surreptitiously) permeates and naturalizes the experience of the North Atlantic nation-state, universalizing a singular (and historical) form of producing hegemony as a totality. Finally, we propose some reflections and raise some questions regarding how institutionality/statehood is modulated in the archives from the peripheries, and how some aspects of the classical North Atlantic notion of "provenance" appears here "out of place". [ABSTRACT FROM AUTHOR]

After an introduction on the recent scientific and professional reflections on personal and author archives, the contribution briefly traces the biographical and professional path of Goliarda Sapienza (1924-1996) and outlines the history and articulation of the recent ordering of the writer's archival fonds. On the occasion of the centenary of Sapienza's birth, through the events and structure of the archive assembled after her sudden death by her husband and heir Angelo Pellegrino and ordered many years later, an overview of the fund is outlined that broadens previous knowledge by providing further research perspectives.

This article proposes a methodological route for the study of personal archives through four elements of the ethnographic method: archival contexts, the archive and interactions of individuals, documentary practices and the temporalities in the archive. In the first part, the impact of the archival turn and postmodern ideas on the archival studies and the way of approaching archives were analyzed, transcending from the idea of archive as a source to archive as a field of study, which allowed ethnographic readings of the archives. In the second part, a proposal to analyze personal archives from the ethnographic perspective were presented, from the four elements mentioned: context, individuals, documentary practices and temporalities. Finally, it is sketched out how archival ethnography allows to rethink archival principles and documentary organization processes. [ABSTRACT FROM AUTHOR]

In this article, I draw on a handful of personal fan collections created in the first decade of the star system to examine how schoolgirls of faith engaged Hollywood cinema as a visual vernacular that helped them externalize 'extreme states of personal being', including grief, disgust, and arousal. Working through what I term 'a cinephilia steeped in the distrust of pleasure', I argue that some moviegoing girls turned to private scrapbooking and film reviewing to sort out embattled feelings arising while coming of age in the United States at a time of social upheaval, war, and epidemics. [ABSTRACT FROM AUTHOR]

The following article provides a brief overview on the current state of institutional archival practices of social media content and explores some of the key challenges the field continues to face. Social media use has developed into the leading means of human communication in the world, with billions of people utilizing multiple platforms on a daily basis to both document their individual lives and forge digital communities around various interests. Users generate exorbitant amounts of ephemeral content in the form of text, photos, videos and more across multiple platforms which are, by design, unarchivable. As a result, libraries, archives, and other cultural preservation institutions have struggled to find the proper technological tools to capture the sheer amount of data being generated, while also grappling with a variety of methodological, ethical and legal questions that the practice raises. All the while, the amount of social media data containing potentially important cultural heritage artifacts of our time continues to grow and remain at risk of being forever lost, altered or altogether erased. This article looks at several notable examples of major social media data loss that have already taken place in recent history and examines one of the largest institutional attempts to preserve social media thus far in the Library of Congress' Twitter Archive. By exploring some of the key challenges that arose during this attempt which ultimately grounded the project, this article aims to better understand what continues to keep the practice of social media archiving at bay, and what large scale changes might be necessary to make any further progress in the field. [ABSTRACT FROM AUTHOR]

This article aims to analyze traces of experiences lived by a woman teacher in her training process from personal manuscripts located in ego-documents (personal diaries and sketchbooks that demarcated her life and her formation for teaching.These sources are preserved in a personal archive where it is sought to study ways of expression as well as the material supports in which such writings are produced, problematizing them as a place of feelings, emotions and affections.Working with this autobiographical material made it possible to seek evidence of how a young woman saw and represented her daily life and described aspects of his school education and in the late 1960s, in southern Brazil and, more broadly, to examine writing practices as practices of female memory in the keynote of gender studies and purveyor of generational models that, between permanences and ruptures. attest to social and cultural patterns of the time,The study is anchored in the perspective of the History of Education mediated by the investigative experience of the History of the Present Time that contemplates, in different temporalities, the dimensions and possibilities of ego-documents that allow reconfigurations of pasts where it is possible to find in the singularity of an intimate writing, a discourse, a memory, a story to tell. [ABSTRACT FROM AUTHOR]

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This article explores the possibilities that the study of personal memories offers to historians of education. All the arguments revolve around three questions: (1) What is your first memory? From this starting point we explore research dealing with autobiographical memories, both earliest and school memories, as well as future possibilities in educational historiography. (2) How would I like to be remembered? This question is related to the memories and archives of 'the forgotten' – in this case, schoolteachers ‒ and the role of historians as 'heirs' to these memories, in line with Walter Benjamin's metaphor. (3) What happens when personal memories become public? This question leads us to reflect on the processes that convert academic narratives into public discourse. When this occurs, the historian loses control of these narratives and is confronted with a dilemma: to become a public intellectual or to go back to the privacy of his/her archives. [ABSTRACT FROM AUTHOR]

Copyright of Scientific Journal of Library, Archives & Information (SJLAI) is the property of Cairo University, Faculty of Arts - Documents & information Technology Department and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Incorporating architectural records into thematic archival institutions has been a common practice since the 1970s, a trend that has recently accelerated in the Portuguese context. The uniqueness of certain architectural records and collections has been an archival challenge, reflected by the several attempts to standardize their description in an ongoing process since the 1980s. While acknowledging the crucial work done by these institutions in preserving documents, there is also a tendency to focus on preserving fragments of an information system, which can have pernicious effects on understanding archives. In an attempt to understand the composition and organization of archives in the field of landscape architecture and how they can restrict or distort archival classification and knowledge, a brief comparative analysis is conducted on the corpus of documentation of three archives under the custody of thematic institutions. For enhanced understanding, a concise overview of the discipline of landscape architecture and the roles played by its practitioners is provided. This comparative analysis attempts to demonstrate how a thematic approach, breaking organic ties, even if indelible, or underestimating lesser-known contexts or producer activities, can restrict or distort archival classification and knowledge. The focus on Gonçalo Ribeiro Telles's archive and its ongoing organization, along with the analysis of a drawing from this archive, aims to demonstrate the need for a transition, especially in specialized or thematic institutions, from the construction of professional collections or archives to a focus on personal archives, which are organic aggregations of individuals who, during their lifetimes, also bequeathed records related to landscape architecture.

An increasingly intense experience of personal information management (PIM) manifests in how people manage personal information archives and how they feel about it. To this point, however, the relations between feelings and PIM behavior have attracted limited study. We examined how feelings shape people's organizing and deleting practices, focusing on four affective aspects: anxiety, self-efficacy, belonging, and loss of control. We hypothesized that these affective aspects would predict the extent to which people utilize organizing and deleting practices. Data were collected via two self-reported questionnaires distributed to 465 respondents. Findings partially supported the hypotheses and showed self-efficacy was the strongest predictor of deleting and organizing. This suggests the process of PIM is more efficient and productive when people enjoy interacting with personal information and do not perceive it as a burden. We discuss the results and suggest several implications for research, PIM literacy development, and platform design. [ABSTRACT FROM AUTHOR]

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Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is dedicated to making known a letter by Monteiro Lobato dated January 15, 1935. The addressee is the President of the Republic Getúlio Vargas to whom the writer presents a report dealing with the oil issue. This article also discusses the importance of personal files where this type of document is found. [ABSTRACT FROM AUTHOR]

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The “Aldo Beldì” archival collection was donated to the Novara State Archives in 2001 by Paolo Beldì. He wanted to avert the dispersion of the professional papers of his father, owner of a major advertising firm from 1945 to 2000. Its reorganization, carried out in 2020, led to the rediscovery of the life and activities of the publicist, born in Novara on May 7, 1922. After studying at the Technical Commercial Institute “Galileo Ferraris,” Beldì joined an amateur drama company in Novara. In 1945, after the war and after a brief stint with the Società Irrigazione Est Sesia and Vittorio Orsini’s Notorius graphic design studio, he opened his own advertising firm. Between 1948 and 1956 he began his work as an illustrator for the sports newspapers “L’Azzurro” and “Forza Novara”. Supported by the group of friends he used to meet at the Menabrea, Coccia and Faraggiana cafes, Beldì immediately showed his creative skills as an exhibition hall fitter: during the 1947 Milan Fair he advertised Renato Bialetti’s (1923-2016) coffee makers by installing a huge mocha pot at the entrance to the exhibition from which coffee came out. The cooperation with Bialetti continued with the design of several exhibition spaces in Milan from 1954 to 1960 and the development of one of the first TV clips for Carosello in 1958. He also had important cooperations with Mario Pavesi (1909-1990) and Carlo Doppieri (1895-1969). In 1973 Studio Beldì started a fruitful collaboration with the Parmigiano Reggiano Cheese Consortium, followed in 1975 by the first works for the Gorgonzola Cheese Protection Consortium, for which it developed graphic and TV advertising campaigns. In the 1980s, it launched the advertisements for Giocattoli Mattel and for large-scale events, such as the “Novarassima” sports and cultural festivals (1982-1984) and the 1987 “Stresa d’Oro”. AldoBeldì was named Cavaliere della Repubblica in 1960; he was appointed Commendatore by President Scalfaro. He died in Novara on February 27, 2000, at the age of 77. [ABSTRACT FROM AUTHOR]

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Digitization has been changing the methods of production, distribution and use of written and audiovisual products, according to a process of “platformization” (Van Dijck, Poell, de Waal 2018). Following the “network society” model (Castells 1996), platforms, as creative ecosystems (Montanari 2018) and medial ecosystems (Pescatore, Innocenti 2011), have introduced a new mindset that connects producers and consumers within a digital environment, breaking down space-time barriers, controlling data and simplifying the supply chain (Nasta and Pirolo, 2017). So even the audiovisual field has undergone a transition to companies with a service provider role, following a user-based model that feeds different forms of participation and spreadability through intermediality and storytelling (Abercrombie and Longhurst, 1998; Jenkins, Ford, Green 2013).The project of digitization of written material of the Zavattini Archive (Biblioteca Panizzi, Reggio Emilia) starts from a productive theoretical (and methodological) intersection between platform design and game design. As we will see, the paradigm shift that platform design has brought resembles certain characteristics of the “play” experience. The concepts of collaboration and intermediation lead to a rethinking of users as pivotal and at the centre, not only regarding their user experience (as in certain types of digital games) but also in the production of various types of content (as in platforms), leading to asynchronous collective experiences, whether they are related to gaming or to participating in platforms.

The digital revolution that for at least a couple of decades has radically transformed every sector of society has not neglected to make profound changes also in the personal life of each one – which is becoming more and more ‘digital’ – and in the production and use of documents. Through personal computers, tablets and smartphones, we draw up documents, take notes and personal notes, write literary texts, develop studies and projects, take photographs, read books, interact on social networks, etc. In this way, many documents are created in digital format and many magazines and books are purchased and read in digital format as well. As a consequence, the digital part in personal archives is increasing more and more (and these are turning into “digital personal archives”); in the same way, personal libraries increasingly consist of digital books and magazines and therefore they are becoming ‘personal digital libraries’ too. In many cases digital material is stored on virtual spaces made available by cloud service providers and become accessible only to those who know (or have) the necessary credentials. But faced with this transformation, many people begin to ask themselves: what will happen to these personal digital fonds after the death of the producers or owners? Will the heirs be able to accommodate this legacy? To answer these questions, we need to face the problem of the transmission of the digital legacy, fully understanding the implications that derive from having entrusted personal fonds to systems often protected by inscrutable access mechanisms and trying to identify the solutions that could allow them to secure their future, avoiding falling into that ‘digital dark age’ that more than someone has already begun to foreshadow.

By bringing to the readers’ attention an unpublished Ottoman era document in Romanian, issued in 1861 in Rabrovo, a village in the Vidin region, back then under Ottoman rule, the article tries to shed light on the wider historical and sociolinguistic context of the Romanian-speaking population south of the Danube in the 19th century. The document is a donation-adoption act by which a Romanian man gives one of his sons for adoption to his brother, who does not have heirs. The document is handwritten in Romanian, using Cyrillic script, signed by the chorbaji, mayor and eight witnesses, and stamped by the Turkish administrator. Though very short, it reveals several important facts about the Romanian-speaking population in Ottoman Bulgaria and its origin, the language used in communication and writing, family relations, etc. Coming from a family archive, this document of great emotional value for its owner, has also undisputable linguistic and historical significance.

Barbara Leigh Smith Bodichon (1827–1891) was an English educationist, artist, philanthropist, and feminist. Her personal correspondence is quite extensive, containing letters exchanged with her family, friends, and acquaintances. The bulk of her epistolary archive though consists of letters sent to her. Instead of viewing this fragmentation and imbalance as a handicap, this paper argues that the silences her epistolary archive contains can be turned into a meaningful source of information and thus are methodologically relevant. To do so, it examines the extent to which Bodichon herself might have introduced silences ([un]consciously) as a strategy to exercise power over her own narrative. In order to tease out these epistolary silences and make them speak, this paper reads them through the lens of Lisa Mazzei's poetics of silence. [ABSTRACT FROM AUTHOR]

After more than a decade of usage, social media have become a virtual environment where meaningful content is created and kept, highlighting its potential to become part of personal digital archives. This study investigates users' attitudes and preservation practices related to digital memories created on social media. Survey findings highlighted how users seem to consider these items as meaningful digital traces to document important events of their lives, and a potential inherent part of their personal archives. However, results show how this attitude does not seem to be supported by adequate preservation strategies. After analysing social media platforms' policies in relation to users' preservation practices, we advocate for raising more awareness among both users and service providers regarding the risks posed by the ephemerality of the digital world and the need for specific provisions that go beyond the short-term retention of data and look to the future and potential use of what appears to be considered an inherent part of individuals' personal archives. [ABSTRACT FROM AUTHOR]

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lusitania Sacra is the property of Universidade Catolica Portuguesa, Centro de Estudos de Historia Religiosa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lusitania Sacra is the property of Universidade Catolica Portuguesa, Centro de Estudos de Historia Religiosa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lusitania Sacra is the property of Universidade Catolica Portuguesa, Centro de Estudos de Historia Religiosa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lusitania Sacra is the property of Universidade Catolica Portuguesa, Centro de Estudos de Historia Religiosa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: Personal Archiving is a branch of archival science and genealogy, focusing on the capture, classify, maintain, store, retrieve, use, archive, preservation, dispose, and management of an individual's personal documents and other documentary output, generally by the individuals concerned. A personal archive is an archive created by a person with personal goals, needs and interests. The lack of personal archives, especially for artists, can disperse their artworks throughout their lives, increasing the lack of coherence of their artworks and personal information. A personal archive is established through identifying, capturing, collecting, organizing, indexing, storing, integrating, retrieving, and sharing of personal works, documents and information. Personal archives are an important cultural heritage of a country, because they represent the cultural heritage of individuals and their individual, social, economic and cultural activities in the society. Therefore, the present research seeks to study the requirements for the creation of personal archives of artists in Tehran. Methodology: The statistical population of this study included 271 artists from the Institute for the Development of Visual Arts, in three fields of painting, sculpture and graphic art who has held at least two individual exhibitions. Participants were selected by snowball method and introduced by previous participants. The research method was mixed. First, the literature were analyzed and reviewed. Second, the interviews have been conducted. Third, the contents of interviews were analyzed descriptively and qualitatively, using thematic analysis and the MAXQDA software. Forth, the requirements for creating personal archives of artists were extracted. Finally, in the second phase, according to the requirements extracted from the interviews, a questionnaire was developed and was filled out by participants. Findings: The result of chi-square test based on the degree of freedom of each factor showed that there was a significant relationship between the mentioned factors and the creation of the artists' personal archives. The mean of conservation factor was 3.679 with a factor loading 0.94, the mean of storage factor was 3.636 with a factor loading of 0.92, the mean of factor of acquisition (collecting) was 3.447 with a factor loading of 0.86, the mean of factor of retrieval and access was 3.17 with a factor loading of 0.81; and the mean of organization factor was 2.791 with a factor loading of 0.79. Conclusion: The results of analysis of questionnaires' data revealed that the requirements and priorities to create personal archives for artists in order of importance include: conservation, storage, acquisition (collecting), retrieval, access, and organization. In analyzing these essentials, physical and digital protection of personal information as the underpinnings of the protection agent, is vital for the artists of Tehran. It is worth noting that protecting the physical archives is harder than protecting digital archives. It is suggested to create a database of artists' personal archives to allow them sharing their personal archives and experiences.

This essay considers Arturo Islas's posthumously published novel, La Mollie and the King of Tears (1996), arguing that an examination of its "archival remains"—its drafted and rejected material found in Islas's archive—offers compelling evidence of the text's anxious resistances to bodily, narrative, and cultural annihilation. Drawing on textual scholarship that prioritizes notions of texts as "fluid" or "in process" as well as on theories of queer and asycnhronous temporalities, I argue for a reading of the novel as haunted by its erasures and absences, and for a reading practice that more purposefully imagines the role of the body—of the author, of the text, and of the reader— in constituting and reconstituting the narrative. [ABSTRACT FROM AUTHOR]

The article discusses the life, literary career, and archiving of works of American poet Elizabeth Graeme Fergusson. Topics explored include the poetry and personal letters of Fergusson to educator Benjamin Rush acquired by the Library Company of Philadelphia, the way Rush acknowledged the literary capabilities of Fergusson, and the literary productivity demonstrated by Fergusson which complemented her personal archive.

The article informs about works and life of Charles Harold Livingston, eminent Romanist, specialist in the Middle Ages and the French 16th century, became a professor at Bowdoin College. Topics include fund which is kept in the George J. Mitchell Department of Special Collections & Archives of Bowdoin College Library and contains his personal archives with the preparatory notes for the monographs; and remarkable collection of autographs with letters from Gérard de Nerval.

The aim of the article was to describe the collection of manuscripts preserved in the family archives as a memorial to Sabina Grzegorzewska née Gostkowska, a 19th‑century writer, which are currently in the possession of The Scientific Library of the PAAS and the PAS in Cracow. That analysed archival legacy consists of various documents, which include a few letters, several rough drafts with notes and quotations on Grzegorzewska’s philosophical and religious lectures, excerpts from her dissertations, and drafts and fair copies of novels and memoirs. The article presented their content and material condition. The prospects for further processing of that legacy were also discussed. An important issue is the question on the importance of the task for the history of Polish literature of the 19th century, especially with regard to the creator of minorum gentium. According to the author of the article, it would be reasonable to link the methods of the analysis of avant-textes, adopted in genetic research, with the proposals of the so-called cultural genetics.

In 2016, the Mihai Pop Fonds was established as part of the Image Archive at the Romanian Peasant Museum, and this past year has seen a real effort to organize the documents left behind by the scholar. The Fonds brings together key documents: a rich correspondence with Romanian and foreign research­ers; Mihai Pop’s field notes from the sociological research campaigns; his PhD thesis, which has yet to be published; documents related to his participation in national and international congresses; his notes for the folklore lectures he gave at the University; and many other documents. The paper aims to present how an interdisciplinary team of ten researchers and artists organized various types of documents from the personal archive of Mi­hai Pop in order to make it accessible to both specialists interested in the topic and the general public. The paper highlights the contents of the Fonds and focuses on the difficulties involved in organizing a personal archive. The paper will show not only how the Mihai Pop Fonds was shaped in the process, but how the network of people interested in his work has grown and come together in this process, generating new knowledge and new perspectives.

Over the last few decades, textual criticism has shifted its focus away from the reconstruction of final authorial intentions in favour of exposing the multiplicity of intentions concurring in the formation of literary texts. A similar shift in focus can be tracked in the theoretical literature on lifewriting exploring the nature of autobiographical texts. There, the notion that such texts function as sites for the revelation of a unified authentic self has been displaced by an understanding of them as sites for the construction of multiple selves. Both these shifts resonate, in turn, with a growing body of archival literature investigating the multiple layers of agency implicated in the construction of archival fonds. Drawing on the insights of textual criticism, lifewriting scholarship and the archival theory of arrangement, this article considers the ways in which personal fonds in general and writers’ fonds in particular may be understood as autobiographical texts.

Este estudio de caso se focaliza en el archivo que Lucía Álvarez (1936-2018) construyó durante los últimos 24 años de su vida. Las imágenes reunidas en 14 tomos fueron seleccionadas a partir de puntos de vista particulares que la autora tenía sobre formas de actividad cotidiana susceptibles de ser archivadas. Imágenes de pájaros que aparecían diariamente en el periódico, firmas de los médicos que hacían sus chequeos o calendarios publicitarios que se reparten a comienzo de año, configuran el acervo edificado de acuerdo a motivaciones individuales que cambiaban de rumbo según las circunstancias. Se evidencia un complejo sistema de relaciones y significados que abren preguntas sobre cómo las pasiones dominantes enriquecen la vida cotidiana, activan habilidades, desarrollan aptitudes estéticas y amplían los tipos de percepción y afectos.

This article studies two personal human rights archives and their interactions with transitional justice mechanisms in Colombia. The 'Fabiola Lalinde fonds' contains documentation produced during the search of truth and justice for the forced disappearance of her son Luis Fernando Lalinde. The 'Mario Agudelo Fonds' gathers documentation related to his militancy in the Popular Liberation Army (EPL), his later political activism and his participation in peace processes. The relationship between these archives and transitional justice can be described as a virtuous circle. Both archives preceded and prepared the implementation of transitional justice mechanisms in Colombia and have provided evidence for trials and reparation processes. In turn, transitional institutions have enhanced the public recognition of these archives as paradigmatic examples of memory initiatives of the civil society. The article shows that these types of archives can contribute to the creation of a record of human rights violations, help consolidate collective memory and have symbolic power as testimony of lives dedicated to the defence of human rights and the search for a more just country. They belong to the canon of human rights archives and, in the current Colombian context, face political and material risks that must be addressed. [ABSTRACT FROM AUTHOR]

The article aims to analyze Luzia's notebooks and what she kept inside them, recognizing biographical evidence on the pages of these writing supports. As a space for historical investigation, these personal archives preserve fragments of their memories, amid other themes, especially those related to Education and Culture. Moved by what affected her, Luzia began to read, write, cut, paste, organize and store. We understand that one of the keys to capture it is the perception of different dimensions of its paths, which appear in its archives: on the one hand, the dimension of intimacy; on the other, the dimension that includes traces of his intellectuality, unfolded in the myriad of interests that make up his trajectory. This methodological path of analysis, guided by what she chose to archive as categories of memories, allowed us, at last, to get close to the person Luzia. [ABSTRACT FROM AUTHOR]

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Objectiu: identificar, descriure i analitzar les narratives presents en les donacions fetes per dones al Museo de la Memoria y los Derechos Humanos de Xile. -- Metodologia: estudi exploratori de metodologia mixta. Considera una anàlisi estadística descriptiva dels fons documentals donats al Museo de la Memoria y los Derechos Humanos segons tipus de donant i gènere; una anàlisi del perfil, la motivació, la procedència i el tipus d'experiència aportada en les donacions de dones per a proposar una tipologia dels seus arxius, i l'anàlisi de 37 fons documentals seleccionats per a il·lustrar aquesta tipologia. -- Resultats: malgrat les dures restriccions imposades per la dictadura a l'exercici de la política, l'associació i l'expressió pública, i els danys profunds que el terrorisme d'estat va produir en el teixit social, els arxius personals revelen el paper fonamental que les dones van exercir en el camp de la defensa i la promoció dels drets humans, i també en el camp polític, social i cultural organitzat i mobilitzat contra la dictadura a Xile. Objective: To identify, describe and analyse the narratives present in the documents donated by women to Chile’s Museum of Memory and Human Rights (MMDH). -- Methodology: A mixed-method exploratory study which presents a descriptive statistical analysis of the collection of documents donated to the MMDH, according to the person making the donation and the genre; an analysis of the profile, rationale, origin and type of experience described in order to propose a classification; and the analysis of 37 documents selected in order to illustrate this classification. -- Results: Despite the severe restrictions imposed on political activity, association, and public discourse, and the profound damage that state terrorism inflicted on the social fabric, the personal documents of women bear witness to their fundamental role in the defence and promotion of human rights, as well as in the political, social and cultural mobilization against the dictatorship of Chile.

Objectius: Partim del supòsit que ens trobem en un moment especial de la història de les memòries sobre els feminismes, un 'punt d'inflexió des del punt de vista dels arxius', fent servir l'expressió de Kate Eichhorn. Els nostres objectius són, en primer lloc, redefinir les característiques d'aquest gir en el món dels arxius analitzant exemples de centres o de projectes de centres de recursos documentals i arxivístics d'Espanya i de França entre les dècades del 1990 i del 2000; en segon lloc, posar-los en context en relació amb l'evolució de conceptes i pràctiques arxivístics i, en tercer lloc, plantejar-nos si hi ha un doble moviment paradoxal entre institucionalització i activisme comunitari. -- Metodologia: Per poder respondre a la nostra hipòtesi de partida, hem revisat la bibliografia d'acord amb un enfocament volgudament interdisciplinari: estudis feministes i de gènere, estudis arxivístics, French Theory, estudis culturals. Ens hem basat en estudis de casos a Espanya i a França per poder fer comparacions rellevants. -- Resultats: La primera observació que podem fer és que hi ha una continuïtat entre la segona i la tercera onades feministes amb relació a la qüestió dels arxius. La segona és que hi ha un gir en el món dels arxius, però amb característiques originals: entre la reactivació i la intensificació, entre la institucionalització i l'autonomia, aquests activismes arxivístics feministes tenen a veure tant amb el feminisme majoritari com amb els feminismes minoritaris. L'arxivatge pertany més que mai al repertori d'accions feministes. La tercera observació és l'existència de comunitats que tenen un gran suport d'iniciatives arxivístiques feministes. Objectives: Our starting-point is the idea that we are at a decisive moment in the history of memories of feminisms; an 'archival turn', to use Kate Eichhorn's expression. Our objectives are, first, to redefine the characteristics of this archival turn by analysing examples of centres, and the projects of documentary and archival resource centres, in Spain and France in the 1990s and 2000s; second, to contextualized them regarding the evolution of archival concepts and practices, and third, to consider whether there is a dual paradoxical movement between institutionalization and community activism. -- Methodology: To test our starting hypothesis, we review the literature applying a strongly interdisciplinary approach: feminist and gender studies, archival studies, French Theory, and cultural studies. We base ourselves on case studies in Spain and France in order to make relevant comparisons. -- Results: The first observation we should make is that there is a continuity between the second and third feminist waves in relation to the issue of archives. The second is that there is a turn in the world of archives, but with original features: between reactivation and intensification, between institutionalization and autonomy, these feminist archival activisms have to do with both majority and minority feminisms. Exploring archives belongs more than ever to the repertoire of feminist actions. The third observation is the existence of communities that are heavily supported by feminist archival initiatives.

Objetivo: identificar, describir y analizar las narrativas presentes en las donaciones realizadas por mujeres al Museo de la Memoria y los Derechos Humanos de Chile. -- Metodología: estudio exploratorio de metodología mixta. Considera un análisis estadístico descriptivo de los fondos documentales donados al Museo de la Memoria y los Derechos Humanos según tipo de donante y género; un análisis del perfil, motivación, procedencia y tipo de experiencia relevada en las donaciones de mujeres para proponer una tipología de sus archivos y el análisis de 37 fondos documentales seleccionados para ilustrar dicha tipología. -- Resultados: pese a las severas restricciones impuestas por la dictadura al ejercicio de la política, la asociación y la expresión pública, y a los profundos daños que el terrorismo de Estado produjo en el tejido social, los archivos personales revelan el rol fundamental que las mujeres desempeñaron en el campo de la defensa y la promoción de los derechos humanos, y también en el campo político, social y cultural organizado y movilizado contra la dictadura en Chile. Objective: To identify, describe and analyse the narratives present in the documents donated by women to Chile’s Museum of Memory and Human Rights (MMDH). -- Methodology: A mixed-method exploratory study which presents a descriptive statistical analysis of the collection of documents donated to the MMDH, according to the person making the donation and the genre; an analysis of the profile, rationale, origin and type of experience described in order to propose a classification; and the analysis of 37 documents selected in order to illustrate this classification. -- Results: Despite the severe restrictions imposed on political activity, association, and public discourse, and the profound damage that state terrorism inflicted on the social fabric, the personal documents of women bear witness to their fundamental role in the defence and promotion of human rights, as well as in the political, social and cultural mobilization against the dictatorship of Chile.

Objectives: Our starting-point is the idea that we are at a decisive moment in the history of memories of feminisms; an archival turn, to use Kate Eichhorn's expression. Our objectives are, first, to redefine the characteristics of this archival turn by analysing examples of centres, and the projects of documentary and archival resource centres, in Spain and France in the 1990s and 2000s; second, to contextualized them regarding the evolution of archival concepts and practices, and third, to consider whether there is a dual paradoxical movement between institutionalization and community activism. -- Methodology: To test our starting hypothesis, we review the literature applying a strongly interdisciplinary approach: feminist and gender studies, archival studies, French Theory, and cultural studies. We base ourselves on case studies in Spain and France in order to make relevant comparisons. -- Results: The first observation we should make is that there is a continuity between the second and third feminist waves in relation to the issue of archives. The second is that there is a turn in the world of archives, but with original features: between reactivation and intensification, between institutionalization and autonomy, these feminist archival activisms have to do with both majority and minority feminisms. Exploring archives belongs more than ever to the repertoire of feminist actions. The third observation is the existence of communities that are heavily supported by feminist archival initiatives.

RIBEIRO, Nuno; SOUZA, Cláudia (2017). Fernando Pessoa & Goethe. Edição, Notas e Estudo Introdutório de Nuno Ribeiro & Cláudia Souza. Lisboa: Apenas Livros, 438 pp. ISBN: 978-989-61857-6-3.

Alberto de Serpa foi um extraordinário colecionador. Ao longo da vida juntou um considerável espólio, um «arquivo pessoal», como lhe chamou, entre cartas recebidas e cartas de terceiros, manuscritos raros, fotografias, provas tipográficas e muitos outros documentos. À guarda da Biblioteca Pública Municipal do Porto ficou grande parte do seu espólio, contabilizando cerca de 5884 documentos, adquiridos em leilão no ano de 1988. Entre os milhares de documentos contam-se onze autógrafos de Fernando Pessoa, além de um breve recorte assinado por Álvaro de Campos, enviado por António Botto a Serpa como um gesto de amizade. Pretendemos descrever este pequeno núcleo de documentos pessoanos que Alberto de Serpa «deixou ficar» no seu imenso espólio. A partir do testemunho de cartas de vários contemporâneos como Luís de Montalvor, Branquinho da Fonseca, João Gaspar Simões, Silva Tavares, entre outros, percebe-se o interesse de Alberto de Serpa em adquirir autógrafos de Fernando Pessoa antes mesmo de a obra do poeta lisboeta começar a ser publicada. Muitas outras cartas de tantos outros correspondentes fazem referência a Pessoa, revelando pormenores interessantes sobre o Poeta.