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Depicting the evolution of 20th-century Harvard in the broader context of national and world events, this text shows how changes in the structure and aspirations of American society led the University to remake itself after World War II, and to do so again after the social upheavals of the Vietnam era.
Samuel Eliot Morison sat down to tell the whole story of Harvard informally and briefly, with the same genial humor and ability to see the human implications of past events that characterize his larger, multi-volume series on Harvard.
Preserving What Is Valued explores the concept of preserving heritage. It presents the conservation profession's code of ethics and discusses four significant contexts embedded in museum conservation practice: science, professionalization, museum practice, and the relationship between museums and First Nations peoples. Museum practice regarding handling and preservation of objects has been largely taken as a given, and it can be difficult to see how these activities are politicized. Clavir argues that museum practices are historically grounded and represent values that are not necessarily held by the originators of the objects. She first focuses on conservation and explains the principles and methods conservators practise. She then discusses First Nations people's perspectives on preservation, quoting extensively from interviews done throughout British Columbia, and comparing the British Columbia situation with that in New Zealand. In the face of cultural repatriation issues, museums are attempting to become more culturally sensitive to the original owners of objects, forming new understandings of the "right ways" of storage and handling of materials. Miriam Clavir's work is important for museum professionals, conservators, those working with First Nations collections in auction houses and galleries, as well as students of sociology and anthropology.
Vol. 1 includes a plan of the Arboretum.
The Emily Dickinson Collection (2021) compiles some of the best-known works of an icon of American poetry. Out of nearly two-thousand poems discovered after her death, less than a dozen appeared in print during Dickinson’s lifetime. Drawn from such influential posthumous volumes as Poems (1902) and The Single Hound (1914), The Emily Dickinson Collection captures the spiritual depths, celebratory heights, and impenetrable mystery of Dickinson’s poetic gift. “Fame is a fickle food / Upon a shifting plate, / Whose table once a Guest, but not / The second time, is set.” Deeply aware of the fleeting nature of fame, Dickinson—whose reputation in life was as a lonely eccentric who rarely, if ever, left home—seems to provide some clarity as to why publication so often eluded her. Having published just ten poems in her lifetime, Dickinson continued to write in solitude until her final years. Her final word on fame is a warning, perhaps, for poets whose fate would differ from her own: “Men eat of it and die.” Despite her admonishing tone, she found space elsewhere to muse on the nature of literary achievement, recognizing that obscurity could incidentally produce the conditions for a poet to produce their most vital work: “Success is counted sweetest / By those who ne’er succeed. / To comprehend a nectar / Requires sorest need.” Throughout her life, Emily Dickinson showed a profound respect for the mysteries of worldly existence. In her poems, this creates an atmosphere of prayer and contemplation, a search for something beyond the simple answers: “Some things that fly there be, — / Birds, hours, the bumble-bee: / Of these no elegy.” Amid such fleeting things, she catches a glimpse of eternity. With a beautifully designed cover and professionally typeset manuscript, this edition of The Emily Dickinson Collection is a classic of American poetry reimagined for modern readers.
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An analysis of “the Trump era, but not about Trump. . . . but on how incentives across a range of institutions have created corruption” (New York Times Book Review). “There is not a single American awake to the world who is comfortable with the way things are.” So begins Lawrence Lessig's sweeping indictment of modern-day American institutions and the corruption that besets them—from the selling of Congress to special interests to the corporate capture of the academy. And it’s our fault. What Lessig brilliantly shows is that we can’t blame the problems of contemporary American life on bad people, as our discourse all too often tends to do. Rather, he explains, “We have allowed core institutions of America’s economic, social, and political life to become corrupted. Not by evil souls, but by good souls. Not through crime, but through compromise.” Through case studies of Congress, finance, the academy, the media, and the law, Lessig shows how institutions are drawn away from higher purposes and toward money, power, quick rewards—the first steps to corruption. Lessig knows that a charge so broad should not be levied lightly, and that our instinct will be to resist it. So he brings copious detail gleaned from years of research, building a case that is all but incontrovertible: America is on the wrong path. If we don’t acknowledge our own part in that, and act now to change it, we will hand our children a less perfect union than we were given. It will be a long struggle. This book represents the first steps. “A devastating argument that America is racing for the cliff's edge of structural, possibly irreversible tyranny.” —Cory Doctorow