Category Archives: Student Views

Meet Gloria Jahoda

Coming from a strictly public library background, at first the world of Special Collections felt just as foreign and mysterious to me as I’m sure it does to many people. Luckily, as a graduate assistant in Special Collections & Archives, I’m in exactly the right position to learn more about it every day. While it might seem obvious why some books are special — they’re often very old, or very scarce, or both — archives are a bit more elusive. As the Manuscript Archivist explained to me, archives provide contextual primary source documents to help researchers understand the environment surrounding a person or event.

img_20170223_105153.jpgMy first project as a graduate assistant involved the Gloria Jahoda Collection – or rather, collections. An author whose husband taught at Florida State University, Gloria Jahoda initially donated a portion of her personal notes and manuscripts to FSU Libraries forty years ago. Some donors might offer more material to the archives after the first gift; this can happen quickly or many years later. These new items are assessed to see if they fit within the scope of the initial donation and, in many cases, added to the same collection. Sometimes, though, this doesn’t happen. When I started working with her manuscripts, Jahoda’s work was spread across seven collections, all donated at different times. I was first tasked with looking over the materials to find a major theme that might unite them into a single collection. I divided the work into new series – like smaller chapters in a single book, series help organize a collection by grouping items together based on their original purpose. I then rearranged the materials, removed duplicate publications, relabeled folders, and copied unstable materials (like old newspaper articles) onto paper that wouldn’t discolor or deteriorate. As this was happening, I learned a lot about who Gloria Jahoda was.

She was born in Chicago and was very proud of the fact that her first poem was published at the age of four. She liked to write on overlooked areas of Florida, including Tallahassee, which she described as being “200 miles from anywhere else.” She photographed her cats. She enjoyed classical music, especially by the English composer Frederick Delius. Her book The Road to Samarkand chronicled Delius’s life, including his time spent managing an orange plantation in Florida. She was an elected registrar of the Creek Nation. She spoke about ecology and conservation. Gloria Jahoda was bold, witty, and passionate.

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What’s left behind after her death in 1980 are her books and, now, the Gloria Jahoda Papers. Visitors to Special Collections can track the development of Jahoda’s works, learn about her personal interests, and laugh at the jokes in her letters. Jahoda’s books document an interesting time in Florida’s development, and I’m proud to say I contributed to preserving her work for future research.

To learn more about the Gloria Jahoda Papers, the finding aid can be found here.

Banned Books Week 2016

Banned Books Week 2016 is here! This year from September 25th to Ocimg_5315tober 1st, we celebrate open access to information and the freedom to read. FSU Special Collections & Archives is host to several frequently challenged and banned classics available for use in our Reading Room, including:

  • The Lord of the Rings, by J.R.R. Tolkien (1954)
  • Lady Chatterley’s Lover, by D.H. Lawrence (1928)
  • Fahrenheit 451, by Ray Bradbury (1953)
  • The Adventures of Huckleberry Finn, by Mark Twain (1884)
  • The Autobiography of Malcolm X, by Malcolm X and Alex Haley (1965)
  • The Call of the Wild, by Jack London (1903)
  • For Whom the Bell Tolls, by Ernest Hemingway (1940)img_5313
  • Gone With the Wind, by Margaret Mitchell (1936)
  • The Naked and the Dead, by Norman Mailer (1948)
  • Howl, by Allen Ginsberg (1956)
  • To Kill a Mockingbird, by Harper Lee (1960)
  • Ulysses, by James Joyce (1922)
  • Naked Lunch, by William S. Burroughs (1959)

For more information on banned books, check out the American Library Association’s Banned Books Week website.

The Library of Babel and Special Collections

The following is a guest post by student assistant Blaise Denton.

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The Library of Babel by Jorge Luis Borges. (PQ7797 .B635 B5213 2000)

Here in the Florida State University Special Collections we have a very special volume, Jorge Borges “The Library of Babel.” The standalone volume in our possession is illustrated by Erik Desmazieres. The Book details life in the great and infinite Library of Babel. It is never ending, universal, broken up into hexagonal rooms and filled with an uncountable number of books. Filling each book are letters, clumped randomly to spell out nonsense. Every so often people find a book with words, real words that spell out ideas and thoughts. Because the library is infinite, there must be one book somewhere in the collection that details the past and future. There must be a book that catalogues the rest of the books. There must also be an infinite number of false narratives, false leads, and even more books that are unreadable.

Special Collection isn’t infinite. Most of the books in the collection are carefully catalogued and lodged in a place where we can find them. We know what almost all of them say. But the task of the librarian is the same, whether it is in the Library of Babel or here in Special Collections. We live in a big world, rather full of books, and more full of things. In Special Collections we find those books that “matter”, a rather subjective verb, and we keep them here, safe. They deteriorate; they get lost. We bundle them up safe with boxes and paper wrapping; we hunt them down and bring them back to their preordained place. The librarian’s tasks, in fiction and in life, are to bring order to chaos and to decide what matters.

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La Tour de Babel. Plate II etching by Erik Desmazieres

Many of the books in Special Collections are in languages we can’t read. Many of them are so small you need a magnifying glass to examine them, some are so big it takes two people to open them. Some are serious tomes on theology and philosophy and some are tiny children’s books. Some of them are pornographic. But they all have two things in common: they are kept in place by a complex cataloging system, and they are meaningful.

In “The Library of Babel” when someone finds a book with meaning, that book becomes incredibly valuable. People travel from all over the universe, that is to say the library, to look at it. Whether it is fiction, poetry, prophesy or biography the book becomes something invaluable. It has meaning, it proves that there is truth.

Special Collections is rather like that, if a bit less grand. People choose things as

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Haute Galerie Circulaire. Plate VII etching by Erik Desmazieres

meaningful enough to write about or otherwise document. Someone has combed through all the books to buy, all the books that have been donated, and selected these. These are the most valuable, the rarest, the oddest books that FSU libraries has. Come look at a book inscribed by a medieval monk. An Akkadian trader. A 60’s beat poet. Come look at “The Library of Babel” by Borges. There are books from every age and perspective here. There are so many books you could never read them all. Try reading a few, very different books and see if you, like the fictional librarian, find some meaning in order.

Summer Report

A look at what a student worker has been up to in Special Collections & Archives this summer

My name is Meg Barrett and I started working with Special Collections and Archives at the beginning of the summer. When I found out that I was going to be working on digitally archiving old pictures from the College of Nursing and the French Napoleonic newspaper Le Moniteur, I was ecstatic. I’m currently a sophomore, majoring in Art History and minoring in French, so old photographs and French newspapers are exactly the sort of things that I love.

Because I am working on two different projects, I generally spend the first half of the week in the Research Center Reading Room and the second half in the Digital Library Center (DLC). In the reading room, I go through and catalogue the volumes of Le Moniteur. On my first day, I started with papers from the year 1792, and I finished the summer with papers from the year 1800. I think it’s amazing to be able to say that I’ve gone through over 2,000 newspapers from the 18th century! In the DLC, I have boxes of photographs in file folders, and my job is to scan the pictures onto the computer, type up information about them into a metadata spreadsheet, and then upload them onto DigiNole so that people anywhere can access them. The dates of the photos range from the 1950s to today, and seeing things from pinning ceremony traditions and headshot styles transition from then to now is such an interesting thing.

School of Nursing Pinning Ceremony; April 29, 1988 http://purl.flvc.org/fsu/fd/FSU_HPUA_2014111_B42_F4_4_004
School of Nursing Pinning Ceremony; April 29, 1988 

Working in Special Collections has been such a wonderful experience: what I’ve been doing has been interesting, the people have been so kind and helpful, and I enjoy it every day. When I found out that I got the job a few months ago, I couldn’t believe it. It’s now the end of the summer, and I will continue working on these projects, and I still can’t believe it!

My Year in Special Collections

As I sit down to write my final blog entry as the Special Collections and Archives graduate assistant, I can’t help but think about the pivotal moment that started me down this whole career path.

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It was the Fall semester of 2011 and I was the nerdiest college sophomore that you’ve ever met. I was completely obsessed with a class I was taking called Illuminated Manuscripts, which my brother still, to this day, jokingly refers to as “laminated manuscripts.” Once a week, our class would meet in one of the classrooms in Strozier Library to study the medieval facsimiles from Special Collections. The rare books librarian, who I thought had the greatest job in the whole world next to Alex Trebek, would administer over these extraordinarily recreated works of art as we students examined the pages with the unflinching attention of a neurosurgeon and took notes (in pencil, of course) on our discoveries.

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The Book of Kells, 800, ND3356 .B7S8 1914

The facsimile I found the most impressive was the iconic Book of Kells. Likely created around the year 800 CE on the Scottish island of Iona, the Book of Kells is widely regarded as the finest European medieval manuscript to survive. Comprising of the four gospel books of the New Testament, it is created in the Hiberno-Saxon, or Insular, style, which refers to a time period in post Roman Britain before the Viking Age when indigenous artistic conventions, such as stylized interlacing knot and animal motifs, were popular. There are a total of ten full page illustrations, including a whimsically blonde Christ and a vignette of cats eating the Eucharistic host, with numerous decorated initials and smaller abstract illustrations surrounding the text. The manuscript is massive, lavishly decorated, and constructed from the finest materials. Its pages are made of vellum, the highest quality calfskin parchment, and the colorful inks are made from a wide variety of imported materials. Ultimately, this manuscript is a showstopper. It’s the medieval equivalent of a modern day Ai Weiwei or Damien Hirst masterpiece.

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And now as I wrap up my assistantship and prepare to graduate I realize I’m sincerely going to miss my friend, the Book of Kells, who sparked my interest in medieval manuscripts and beckoned me to pursue this opportunity in Special Collections. It’s true; those of us who seek a career in libraries envision being surrounded by the materials that we feel the most passionately about. And as great as blonde Jesus is, it’s the people of Special Collections that really make the department so special. Looking forward to commencement and the nebulous unknown of the “real world” that will follow graduate school, I honestly hope that I can find a work environment as supportive and team as cohesive as the one I’ve spent the last year with.

Cheers!

Secrets from the Rare Book Vault

FullSizeRender (2)When I applied to the Special Collections & Archives graduate assistantship, I had one thing in mind: rare books. As an undergrad at FSU, I frequently visited Special Collections for class projects and assignments related to medieval manuscripts and early printed books, knowing that someday I wanted to work with rare material like these. So naturally when I received the news that I was selected for the assistantship, my first thought was of all the rare books I would get to “work with.”

The concept of “working with” rare books was always a very abstract one to me. I assumed rare book librarians got to study the materials, give lectures to visiting classes, and create exhibit displays. A very glamorous position in academia. As a young and naive soon-to-be graduate assistant I really had no idea what rare book maintenance would entail because my only previous job experience included retail, banking, and an archives internship. Now that I’m slightly older and much more experienced, I can say I have insight into “working with” rare books. The epitome of rare books. The vault books!

That’s right, I left my career as a community banker to find myself auditing yet another vault. Just like the huge quantities of money safeguarded behind lock and key, the rare books that live in the Special Collections vault are the most valuable items in the collection. And I was tasked with examining just over 1,000 of them to determine their condition and assess whether or not they needed any preservation treatment. Most of them (71%), I’m happy to report, are holding up just fine considering their age. The other couple hundred are in need of various types of enclosures that will preserve all of their fragile, decaying, or detached parts. 

This naturally led to a practicum in box making. Under the high-quality tutelage of the Uppsala University Rare Books YouTube channel, the Rare Books Librarian and I tried our hand at custom box making. This turned out to be much more difficult than the 5-minute duration of our video lesson implied. And if rare book box making was an Olympic sport, our Swedish friends at Uppsala would take home the gold. But in the end, with a lot of time spent practicing, we were able to construct several excellent enclosures to protect some of the most deteriorated books in the vault.

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These days my glamorous vision of rare books librarianship still includes spontaneous bouts of paging through incunables to appreciate the illustrations, hand binding, and old book smell. But the reality of the job entails a lot more dust, red rot, and wormholes. Ultimately, the basis of “working with” rare books is preservation; removing the dust, and stopping the red rot and wormholes so that librarians and patrons alike may continue to marvel at illustrations, hand binding, and old book smell for centuries to come.

Reflections from RBMS 2015

Special Collections librarians are constantly learning–both from the collections we curate and from each other.  We share our research, knowledge, and best practices through journals and the meetings of professional societies.

The Bancroft Library is the University of California Berkeley's rare book and manuscript repository
The Bancroft Library is the University of California Berkeley’s rare book and manuscript repository

In late June, I traveled to Oakland and Berkeley, California to attend the conference of one such professional society, the Rare Books and Manuscripts Section of the Association of College and Research Libraries, better known as RBMS.  The topic of the RBMS 2015 Conference was “Preserve the Humanities! Special Collections as Liberal Arts Laboratory.”  Session topics ranged from incorporating digital humanities, engaged collection development, community archives, and, of course, instruction with Special Collections materials.  You can find a full schedule of the RBMS 2015 Conference program here.

For myself, RBMS 2015 was inspirational.  Ethics, the politics of collection development, innovative practices, instruction, and outreach were all up for discussion during the conference.

Sather Gate, The University of California Berkeley
Sather Gate, The University of California Berkeley

Having spent the spring semester immersed in rare book instruction, most (though not all) of the sessions I chose to attend at RBMS 2015 related to instruction and public services.  I took over eighteen pages of notes over the course of 10 sessions (including three plenaries).  My favorite sessions focused on breaking down the barriers that keep students and researchers from visiting Special Collections, and raised the question of how to best provide access to Special Collections materials.  With this in mind, three especially notable sessions were:

Seminar H: Meeting Researchers Where They Are: A User-Driven Manifesto

The presenters of this seminar wrote a “manifesto,” advocating that user needs should drive all aspects of a Special Collections library–from technical services to public services, and then presented on their efforts to do so at their institutions.

Seminar K: Mess is Lore: Navigating the Unwieldy World of Social Media

Panel presenters centered their discussion around the idea of social media as a conversation with users.  Special Collections libraries can use social media to highlight their holdings, but at its best, social media is a conversation.

Papers Panel 10: Special Collections and Credit Courses: Opportunities and Challenges

In designing a for credit class on the history of the book, presenter Anne Bahde approached her class visits to Special Collections as a science teacher would approach a “lab session”–an opportunity for hands on learning.  Scheduling four Special Collections for her semester long class, she further broke down each visit thematically, allowing the students’ knowledge to build with each visit.

This is just a brief sample of some points that stuck with me, a week after I’ve returned to Florida.

For those interested in attending a future RBMS conference: RBMS 2016 is in Coral Gables, Florida.

I look forward to attending again next year!

(re)Introducing the Dime Novels Collection

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A view of one of the Special Collections & Archives storage modules in the subbasement

In J.R.R. Tolkien’s Lord of the Rings, Bilbo tells his nephew Frodo, “It’s a dangerous business… going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.” The same might be said for visiting the subbasement of Strozier Library; it’s a dangerous thing, because you never know what new projects you might stumble upon. In this case, it was six boxes of uncatalogued dime novels stuffed unceremoniously into Hollinger boxes. Where did they come from? How long had they been here? Although we seemed to have more questions than answers, we knew we wanted to get these items stored properly and cataloged so that they would be available to researchers. And so, I was given the opportunity to rehouse and process my very first archival collection. Now, I would like to (re)introduce the Dime Novels Collection!

Dime Novels
Different dime novel formats (MSS 2015-003)

“Dime novels” is the term given to mass-market fiction publications from the late-nineteenth and early-twentieth centuries, which really ranged in price from five to twenty cents. They are essentially the American equivalent of Great Britain’s “penny dreadfuls.” Dime novels revolved around themes of action, adventure, and crime, sometimes drawing on contemporary and historical events like the American Indian Wars and the Revolutionary War. Some come in a magazine-sized format, others as thicker, twenty cent pocket-sized editions. While they were never prized for their literary excellence, dime novels were a widely popular form of entertainment and continued to remain popular among collectors, inspiring periodicals like Dime Novel Roundup, a collector’s guide.

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20 cent thicker-format dime novels stored in boxes, protected by transparent sleeves

Although dime novels can be cataloged as books and given individual call numbers, the FSU Dime Novels Collection has been kept together as a collection. While a single dime novel might be an object of interest to a researchers studying depictions of Native Americans in popular literature or turn-of-the-century graphic design, the collection is also valuable as a whole. Along with the dime novels, I found handwritten note cards with titles and check-marked lists of issues owned, which bear testament to an unnamed collector. These sorts of notes give us a sense of how the dime novels were used and what importance they held. The value of the collection as a whole, as it was developed by its collector, would be lost if the dime novels were separated and cataloged individually.

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Pocket-sized dime novels stored in a Hollinger box

Because they were designed to be cheap, mass-produced, and temporary, dime novels have often not survived over time or survived in poor condition. The FSU Dime Novels Collection has some serious condition issues. The acidity of the paper has made the novels extremely brittle, and this was exasperated by less-than-ideal storage conditions. Now, each dime novel has been placed in an archival-quality plastic sleeve, grouped according to titles, and stored in acid-free boxes. The smaller, pocket-sized dime novels were stored upright in individual folders separated by dividers in a Hollinger box. Pocket-sized novels with loose or detached covers were given additional protection from a card stock enclosure.

To find out more about this collection, view the Dime Novels Collection finding aid, which includes an additional description of the collection and list of titles included.

Presenting at the Society of Florida Archivists Annual Meeting

This past week, Katherine Hoarn and myself had the privilege of presenting a paper at the 2015 Society of Florida Archivists Annual Meeting in Miami.

Included below is an abridged version of the paper “Adventures in Outreach: A Case Study” by Katherine Hoarn and Rebecca Bramlett.

Exhibits as Outreach

That I May Remember: The Scrapbooks of Florida State College for Women exhibit
That I May Remember: The Scrapbooks of Florida State College for Women exhibit

For the first part of the case study, I drew upon the experiences Rebecca and I had while planning, creating, and installing the exhibit “That I May Remember: Scrapbooks of the Florida State College for Women.” When we began this project, my brain was awash in memories of visiting some of my favorite museums: the Museum of Fine Arts in Boston, the MoMA in New York, and the Smithsonian Museums in Washington D.C. I was envisioning clean, slick exhibits in bright, open spaces, with beautiful signage, perfectly cut object labels, state-of-the-art security systems, and objects that had neatly and safely arranged themselves into cases all through their own volition. Then I came back to reality. Exhibits are hard work. They can be a considerable drain on staff hours and resources, but at the end of the day, we believe that exhibits have an important role to play in outreach at our institutions.

Exhibits are an important means of outreach because they give exposure to hidden collections. As someone wrote in our exhibit guest book, “I never knew this was here.” Those are exactly the types of people exhibits are meant to attract: people who don’t know about special collections and wouldn’t otherwise walk into our research center. In addition to bringing attention to certain collections, exhibits provide opportunities for community outreach. Since the “That I May Remember” exhibit focused on FSU history, it was easy to generate community interest, but it’s important to think of other historical societies and cultural organizations that might be interested in coming to see an exhibit.

That I May Remember: The Scrapbooks of Florida State College for Women (1905-1947) exhibit
That I May Remember: The Scrapbooks of Florida State College for Women (1905-1947) exhibit

Although they can be a lot of work, exhibits are also a lot of fun. They can increase access, promote community involvement, and give us librarians and archivists a chance to flex our research muscles. Exhibits shouldn’t be an afterthought, but rather an intentional part of any library and archive’s outreach strategy. Now I’ll turn it over to Rebecca Bramlett to talk about another important outreach method, instruction.

Instruction as Outreach

Whether it’s a page from the Gutenberg Bible; cuneiform tablets from ancient Babylon created in 2500 BCE; letters from the eighteenth century, or a first edition of J.R.R Tolkien’s “The Hobbit”—at Florida State University’s Special Collections and Archives, classroom instruction engages, educates and inspires. Instruction sessions with Special Collections materials can spark new passion and interest, and transform student understanding of a subject by facilitating interaction with the original, primary source materials.

An instruction session in Special Collections & Archives provides students with the opportunity to interact, engage with, and question topically relevant Special Collections materials under the guidance of their instructor and the Special Collections librarian.  It also provides librarians and archivists with the unique opportunity to reach new users, introducing them to Special Collections by granting students the chance to engage with materials outside of a reading room….

Ostraka and manuscript letters, as shown to the Introduction to the History of Text Technologies class
Ostraka and manuscript letters, as shown to the Introduction to the History of Text Technologies class

One way we approached instruction sessions was by looking across collections.  For example, In selecting materials for the introduction history of text technologies, an undergraduate level English class that focuses on the materiality, functionality, and intentionality of the written word, one thing we did was to juxtapose materials—historically and culturally.  We didn’t limit ourselves to just rare books, but included ephemera and manuscripts, as appropriate.  For example, we explored similar functions throughout time, with ostraka—Roman letters written on pottery shards in the early 2nd century and the manuscript letters and the cuneiform tablets detailing economic transactions with nineteenth century ledgers, also detailing economic transactions.

In this particular instance, the combination of rare books, ephemera, and manuscripts helped deepen the understanding the students were trying to reach.  Moreover, different materials engaged different students.

Alphabet Soup: A Librarian’s Guide to Acronyms

One of the most important things I’ve learned as a Library and Information Studies student is how to navigate the lingo of the profession, which includes a dizzying array of acronyms. If it all starts to look like a bowl full of alphabet soup, here’s a (certainly nowhere near exhaustive) list of a few acronyms you can you use next time you want to impress a librarian!

A

AACR2 – Anglo-American Cataloging Rules, 2nd ed. – National standards for cataloging rules first published in 1967 and now succeeded by Resource Description and Access (RDA).

ACRL – Association of College & Research Libraries – The largest division of the American Library Association (ALA), comprised of academic librarians from institutions like Florida State University Libraries.

C

CCO – Cataloging Cultural Objects – Guidelines for cataloging cultural objects, such as works of art, architecture, and historical artifacts.

D

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Dublin Core description of an item in the FSCW Scrapbooks Digital Exhibit.

DACS – Describing Archives: A Content Standard – The content standard used for describing archival collections, which expands upon AACR2 but provides additional guidelines for describing unpublished materials, such as personal papers and manuscript collections.

DC – Dublin Core – A set of vocabulary terms, originally based on a set of 15 elements (Title, Creator, Subject, Description, Publisher, Contributor, Date, Type, Format Identifier, Source, Language, Relation, Coverage, and Rights), that can be used to describe resources such as webpages and digital images. It is a very simple framework, but it can be combined with other metadata standards to control vocabularies. Dublin Core standards were applied to items in the digital exhibit That I May Remember: the Scrapbooks of Florida State College for Women (1905-1947). Shown at right, an image is described using the Title, Subject, and Description elements.

E

EAD – Encoded Archival Description – A markup schema which allows us to encode DACS descriptions and make them appear as nice, neat, human-readable web documents on the Finding Aid Database.

F

FRBR – Functional Requirements for Bibliographic Records – A conceptual model that seeks to help users make sense of bibliographic records by defining relationships between entities. For example, if a patron is looking for a signed edition of Darwin’s Origin of Species, FRBR recognizes a hierarchal relationship between the work (the abstract vision of the work created in Darwin’s head), the expression (Darwin’s vision expressed in words), the manifestation (Darwin’s words published in a specific form – a book), and the item (the unique signed edition of Origin of Species held by FSU Special Collections & Archives) that the patron is searching for.

G

GIS – Geographic Information System – A system for analyzing, manipulating, and displaying geographic data that offers exciting possibilities for aiding access to library collections.

H

HTML – HyperText Markup Language – the language that provides structure to web pages.

I

ILS – Integrated Library System – The data management system that seeks to integrate all the different functions of the library.

ISBN – International Standard Book Number – A unique identification number given to every edition of a book.

ISSN – International Standard Serial Number – A unique identification number given to periodical publications.

L

LCSH – Library of Congress Subject Headings – A controlled vocabulary for subject headings created by the Library of Congress.

M

marcexample
Excerpt of a MARC record. The standard catalog entry can be viewed here.

MARC – Machine-Readable Cataloging – A standard for encoding metadata that was developed in the 1960s as libraries made the transition from card catalogues to computers. MARC records use a system of data fields with alphanumeric tags, indicators, and subfield codes to create bibliographic descriptions. Seen without the help of the OPAC’s display interface, a MARC record might be mistaken by the untrained eye for the opening credits of a Keanu Reeves movie (as seen above left).

MODS – Metadata Object Description Schema – A metadata schema that is more complex than Dublin Core but simpler than MARC. It uses language-based tags (i.e. titleInfo, language, relatedItem) that are much more intuitive to understand than the MARC data fields seen above.

N

NLP – Natural Language Processing – a method of computer processing that seeks to improve information retrieval by studying the nuances of language in free text searches. Instead of searching by keywords, NLP seeks to understand the semantics of what a searcher is really asking for.

O

OCLC – Online Computer Library Center – The largest bibliographic network in the world, which links databases of records from libraries all across the world.

OPAC – Online Public Access Catalog – When you perform a catalog search at lib.fsu.edu, you are harnessing the power of the OPAC.

R

RDA – Resource Description and Access – As of 2010, the successor of AACR2. A standard for cataloging based on FRBR.

T

TEI – Text Encoding Intiative – A schema that provides guidelines for encoding texts for use in digital humanities.

X

XML – eXtensible Markup Language – A markup language used in metadata applications such as MODS.