The Library Releases New Video Explaining Fair Use!

If you think copyright laws were enacted so authors can control all uses of their work and make themselves rich, think again. The U.S. Constitution empowers Congress to give authors and inventors an “exclusive right” to their creations “for limited times”  as an encouragement “to promote the progress of science and useful arts.” In other words, the fruit of an artist’s or inventor’s imagination is there to be used.

All of the ways you make use of images on the internet—from sharing photos and videos via email and on social media, to reading PDF selections of published texts that professors post on UVACollab—would be impossible if it weren’t for the concept of fair use. As long your private use doesn’t interfere with the owner’s commercial use of the work, you most likely don’t have to get permission from the copyright holder, and you may be able to use more of some copyrighted material than you think, but only if you have good reasons.

To help patrons understand their right to fairly use copyrighted works, the Library has released a new video in which Director of Information Policy, Brandon Butler, explains in simple terms what fair use means and what its limits are:

Brandon Butler Suggests Simple Guideline for Celebrating Fair Use Week

Are you hesitant about using that great picture you found to illustrate a blog post, or worried that quoting too much from a single title for your term paper violates copyright? The Library’s Director of Information Policy, Brandon Butler, has come up with a phrase that can help determine if you are protected from having to seek permission from the copyright holder. Using writer Michael Pollan’s commonsense maxim about food, health, and nutrition—“Eat food. Not too much. Mostly plants.”—Butler simplifies the concept of fair use with his own phrase, “Use fairly. Not too much. Have reasons.”

“Use fairly” means taking from a work without superseding it, like a book review that doesn’t replace the book but informs people about whether or not to buy it, or transforming a work into something new and different that changes and adds value to it. “Not too much” means using an amount appropriate to your purpose, as with critical appraisal of an artwork that might require the entire image. “Have reasons” means being prepared to justify why your use is fair, and why the amount is not too much, given your purpose.

The most significant development in fair use for libraries this past year was Judge Orinda Evans’ finding in the Georgia State University e-reserves decision that the limit she had set earlier on the amount of a copyrighted work that could be legally posted was too restrictive. This time, instead of drawing the line at 10% or one chapter, Evans ruled that the deciding factor should be the effect of reserves on a book’s market value. Scanning substantially more than 10% of some works whose availability is severely limited, for example, may have virtually no impact on sales.

The rights that Judge Orinda upheld—codified in the 1976 Copyright Act—allowing fair use of copyrighted material for “criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research” are essential to library staff who answer patrons’ questions about copyright, or who scan material for faculty to post as course reserves for students, and whose job in the Library is to reinforce the intent of the copyright clause of the U.S. Constitution—to “promote the Progress of Science and useful Arts.”

In recognition of Fair Use Week, please read the Library’s statement about Copyright and Scholarly Communication Resources, and please learn and promote the truth about fair use by reading and sharing the PDF, “Fair Use Myths & Facts.” The Library encourages everyone to continue using copyrighted material fairly, not too much, and to have reasons.

The Library Welcomes New Special Collections Instruction Librarian Krystal Appiah

The Library is pleased to welcome Krystal Appiah, who began on February 13 as the new Instruction Librarian for Special Collections. Krystal was most recently the Curator of African American History and a Reference Librarian at the Library Company of Philadelphia where her responsibilities included providing reference and instruction services to fellows and visiting classes, promoting the use of the African Americana Collection, and coordinating the Mellon Scholars Program of fellowships and internships.

She previously worked at the Maryland State Archives as a research archivist in the Legacy of Slavery in Maryland program. As a graduate student, Krystal worked in a number of archival repositories, including the archives of Brown University’s Pembroke Center for Teaching and Research on Women, and the Auburn Avenue Research Library on African American Culture and History.

Krystal holds a Master of Library and Information Science degree from UCLA with a specialization in archival studies;  and an Master’s degree in public humanities from Brown University. She’s “thrilled to join the team at the University of Virginia Library and is looking forward to helping faculty and students incorporate the stellar resources of the Small Special Collections Library into the classroom.”

Welcome Krystal!

Notes Written in the Margins of Books Highlight Love Across Time in “Book Traces @ UVA”

This Valentine’s Day, UVA Today offers an article “Love in the Margins” about notes that lovers have inadvertently bequeathed us in the Book Traces @ UVA project—an effort to create an archive of books from the Library’s collection that have been uniquely enhanced by notations in the margins.

According to project head, English Professor Andrew Stauffer, “only a small percentage of [the books] contain emotionally revealing, personal notations … But it is clear that readers in previous centuries sometimes reacted to their books by inscribing parts of their lives, including their romantic feelings, within them.”

Stauffer’s favorite is a reminiscence of a love affair in 1900 that UVA student Jane Chapman Slaughter wrote into a copy of Longfellow’s Poems and Ballads. Slaughter graduated in 1935 at age 75—one of the first women to earn a Ph.D. at the University. Her lover, John H. Adamson, owned the book and would read to her from it before leaving to do missionary work in 1900, never to return. He left his book with her, and it found its way into the Library as part of a donation of her papers and books to the University.

Read more about romantic notations from the Library’s collection in the article “Love in the Margins” (UVA Today, 2/14/2017).

Special Collections Exhibition “Faulkner: Life and Works” Examines Author as His Own Creation

Items for the exhibition “Faulkner: Life and Works” in the main gallery of the Harrison Institute and Small Special Collections Library were carefully chosen from the trove of letters, photos, and artifacts in the Library’s world-famous Faulkner Collection to explore the many roles the author played in his life. At different times he played the parts of a WWI flyer, a pictorial artist, a Hollywood screenwriter, a cash-strapped Southern landowner, Nobel Laureate, cultural ambassador, and first Balch Writer-in-Residence at the University of Virginia.

According to curator Molly Schwartzburg, the exhibition is as much about the artist’s creation of his various personae, as it is about his creation of a literary universe in the fictional Yoknapatawpha County. Artifacts in the exhibition include the author’s first-grade reader with some early attempts at his name on the inside back cover; a Royal Air Force officer’s uniform that he wore home after training as a pilot in Canada, leaning on a cane to affect a limp he said he got in a crash; artwork in the style of decadent illustrator Aubrey Beardsley; and a tweed jacket discovered hanging in Faulkner’s Alderman Library office after he died in Mississippi in 1962.

From Hollywood there’s Faulkner’s 1942 Warner Brothers studio pass; a handwritten screenplay fragment from The Big Sleep (1945), directed by his hunting and fishing buddy Howard Hawks; and a complete script, The Last Slaver, that became the 20th Century Fox film Slave Ship (1937). There are posters for movie adaptations of his work, including The Story of Temple Drake (1933), from the novel Sanctuary, about a flapper who’s raped and taken to live in a Memphis brothel, and an adaptation of Intruder in the Dust (1949), an indictment of racism and lynching. There’s also a splashy poster for Land of the Pharaohs (1955), an Egyptian epic he wrote for Hawks.

The central display focusing on Faulkner’s development as a writer begins with his first published work—the poem “L’Apres Midi d’un Faune” (1919)—and ends with the Pulitzer-winning WWI allegory The Fable (1954). In between comes Flags in the Dust, his first foray into Yocona (later Yoknapatawpha) County, which Faulkner intuited would “make my name for me as a writer.” He finally sold a severely cut version, re-titled Sartoris, to Harcourt Brace, and writes to his Aunt Alabama McLean about a new novel: “I don’t believe anyone will publish it for 10 years.” The Sound and the Fury was published in 1929, and correspondence with his editor and publisher shows Faulkner discussing the possibility of using colored inks to represent the mental time-shifts in Benjy Compson’s disordered mind.

Dead Addie Bundren’s epic journey to her home burying ground in As I Lay Dying is represented in manuscript pages that Faulkner penned while working the night shift in the University of Mississippi powerhouse, including the enigmatic one-sentence interior monologue of the child Vardaman: “My mother is a fish.” In 1932 Faulkner writes about how smoothly work is progressing on Light in August, which deals in part with the subject of lynching. Joe Christmas, an orphan of uncertain ethnic background, is castrated and murdered by a mob, as much for miscegenation as for killing his lover Joanna Burden, the daughter of transplanted northern abolitionists.

Faulkner’s own racial attitudes in the current of the burgeoning Civil Rights Movement of the ’50s reveals a mind as complex and contradictory as his fiction. He threatens in one letter to join with segregationists in violently resisting integration, and in another he says, “to be against giving a man what equality—cultural, educational, economic—that he’s capable and responsible for, is like living in Alaska and being against snow.”

Visitors who would like to learn more about Faulkner’s life and works can access Digital Yoknapatawpha at a computer station in the back of the gallery. The interactive website allows viewers to locate events chronologically in the contexts of both the history of Yoknapatawpha and the arc of Faulkner’s career.

“Faulkner: Life and Works” is open during regular library hours, and will run from February 6 through July 7, 2017. There will be a celebration of its opening at the Albert and Shirley Small Special Collections Library, in the Harrison/Small Building on February 28 from 5:30 p.m.–7:30.p.m.

University Librarian John Unsworth Speaks about Building Partnerships for the Hathi Trust

The Coalition for Networked Information (CNI) has released videos of its Fall 2016 membership meeting. UVA Dean of Libraries John Unsworth—part of the Executive Management Group of the Hathi Trust Research Center (HTRC)—was one of the featured speakers in a CNI panel presentation, “The Hathi Trust Research Center: It Takes a Village.”

After introducing himself as the HTRC’s “Chief Schmoozing Offcer” (at the 31:40 mark in the video), Unsworth outlines several strategies the HTRC might employ to build partnerships. He talks about supporting various data communities, and about adapting to changes in the publishing world, offering publishers who now provide text mining services “a better business proposition” through co-location of more material that isn’t available to them because of licensing schemes. He emphasizes the role of libraries in providing support for working with data, and speaks of the possibility of encouraging publishers, through JSTOR and Portico, to co-locate material within the secure environment of the HTRC.

Please see the entire video of the CNI presentation, “The Hahti Trust Research Center: It Takes a Village.”

Candace Barrington and Jonathan Hsy to Speak on Global Chaucers Digital Humanities Project

Today, February 2, from 2:00 to 3:30 p.m. in Alderman 421, Candace Barrington, Professor of English at Central Connecticut State University, and Jonathan Hsy, Associate Professor of English at George Washington University, will present “Digital Hospitality,” a talk about archiving and creating a searchable database of non-English versions of The Canterbury Tales for the project Global Chaucers.

The project’s goal is to create the widest range of Chaucerian adaptations online that non-English speaking undergrads can use to examine how particular passages or narratives are transformed across multiple contexts. Graduate students in Chaucer studies can benefit from experience in translation, archiving, and data management. On any level, students can gain important perspectives about cultural values and beliefs by comparing different adaptations of Chaucerian material.

The talk is co-sponsored by UVA’s Program in Medieval Studies, the Department of English, the Scholars’ Lab, and the Classics Department.

Other presentations coming up in the Scholars’ Lab Digital Humanities Speaker Series:

February 3, 10:00 a.m., in Alderman 421, Michelle Moravec, Associate Professor of History at Rosemont College, will speak on “How to Make it as a Woman in(to) Wikipedia.”

February 24, 10:00 a.m., in Alderman 421, the Scholars’ Lab will present two speakers:

  • Angel Nieves is an Associate Professor at Hamilton College, N.Y. and Director of the American Studies and Cinema & Media Studies Programs there. She will speak on “Digital Humanities and Difficult Narratives: Recovering Human Rights Violations During the 1976 Soweto Student Uprisings.”
  • Henry Lovejoy is an Assistant Professor at the University of Colorado Boulder. He will speak on “Crowd Sourcing Digital History Metadata: The Liberated Africans Project in Global Perspective.”

Special Collections presents Mini-Exhibition on “Black Girlhood”

As part of UVA’s observance of Martin Luther King Day, the Albert and Shirley Small Special Collections Library opens a mini-exhibition, “The Sounds and Silences of Black Girlhood,” today, January 27, in the First Floor Gallery of the Harrison Institute and Small Special Collections Library. There will be a reception from 5:00 p.m.–7:00 p.m.—part of a schedule of Final Fridays events highlighting lectures, performances, and exhibitions in arts and culture at UVA. The exhibition will run through March 24, 2017.

Curated by students in Professor Cori Field’s course “A Global History of Black Girlhood,” the exhibition is associated with the Global History of Black Girlhood Conference, which will be held in the auditorium of the Harrison/Small building on March 17th and 18th.

Anyone who’s interested in learning what it was like coming of age as a young black woman in America, confronting the twin evils of racism and sexism from slavery through the civil rights movement, should come by the reception today and talk with the young curators. Refreshments will be served!