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Includes primarily research Cross conducted for his published books. Among the material are style sheets; notes, lists, and questions regarding the works; photocopies of internet and other research completed, and reference materials. Includes some correspondence with publishers. There is a review of White Guardian, and a list of Cross' recommended readings.

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The Writings Series contains Fritz's notebooks and diaries as well as drafts, published articles, and papers related to the publication of Fritz's prose writings, poetry, and book and article reviews. The Notebooks and Diaries subseries contains Fritz's diaries, notebooks, address books, and other volumes. Most of the volumes contain irregular diary entries, reflections, poetry drafts, and drawings. The Prose Subseries contains drafts and published versions of Fritz's essays, articles, letters to the editor, and other prose pieces. The bulk of these materials predate Fritz's emigration to England. Included in this series are drafts of Fritz's book, Dreamers and Dealers: An Intimate Appraisal of the Women's Movement. Also included are clippings, notes, and editorial comments on Fritz's work and an article submission index tracking the publications and journals to which Fritz submitted her writings. The Poetry subseries includes poetry manuscripts; drafts and proofs of Fritz's published poetry anthologies, including From Cookie to Witch is an Old Story, Going, Going..., Somewhere En Route - Poems, 1987-1992, The Way to Go, and an apparently unpublished collection of poems, Bureau de Change; materials related to the publication of Touching the Sun, an anthology dedicated to the memory of poet Adam Johnson, edited by Fritz; and other papers. The Book Reviews subseries contains drafts and published versions of Fritz's reviews of books, articles, and poetry.

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Music Sketchbooks and Student Works contains assorted untitled music sketches and sketchbooks by Robert Ward, some of which may be related to later published works. Also includes score and parts to Ward's withdrawn work, his 1st String Quartet (not to be confused with his First String Quartet from 1966), and libretto drafts to a work entitled The Tragic Muse. Also contains various contrapuntal exercises from Ward's time at the Eastman School of Music, as well as orchestrations of works by J.S. Bach and Claude Debussy. Arranged alphabetically by folder title.

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Series consists of 14 photographs located in the final folder of box 3. Photographs show Civil Rights demonstrators, law enforcement response, race relations in the South, and active protest. All photographs are undated with little information regarding subjects and locations, though three photographs are identifiably of Chapel Hill demonstrations.

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The Pictures Series includes both photographs and illustrated pictures and advertisements. The majority of photographs are of the Alexander Sprunt and Son employees and facilities in Wilmington, N.C., and include the main office building on Front and Walnut Streets; office staff, including some photographs of the Sprunts; the Champion Compress and Warehouse facility; the S.S. Winston Salem (1920). The series also includes portraits and photographs of the Sprunt family both in Wilmington and abroad. Other images in the collection are: postcards and advertisements, as well as a set of photos by Cirkut Photos by Coovert in Memphis, Tennessee.

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Box 3

This album includes approximately 134 photographs with typed captions and commentary. They chiefly document South Korean and American military personnel during meetings, relaxing in quarters, and posing for snaphots and group portraits. Events documented include the Korean Military and Naval Academies graduations. There are also many images from touristic trips to towns, to the Chang Gyung Won (Changgyeong Palace) Gardens, and to Tokyo, Japan, just before Ramsey departed for the U.S. from Taiwan. The first photograph is the only color image in the collection - a snapshot of Korean children playing with a seesaw on the street. Included is a large brochure for the Atami Hotel in Tokyo as well as a publicity magazine about the Tokyo Tower, a record-height communications structure built in 1958.

On pages 6-8 there are twenty black-and-white images of the April Revolution in 1960, most taken at close range and which include potentially disturbing images of bloody and dead protesters and violent clashes with police. The photographer is unidentified. The two-week mass civilian protests, spearheaded by students protesting widespread vote-rigging in presidential elections by then-President Rhee Syngman, later led to the downfall of the Rhee government that had ruled the country for 12 years.

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Photographs, late 19th century 2 items — 1 box

Two albumen photographs on large card mounts, showing views of two ancestral homes. Also found in the Rubenstein Library's Picture Collection, probably separated from the Knight collection: a copy of a miniature of John Knight painted by Hugh Bridgeport in 1832; a photograph of Frances Z.S. Beall Knight; and photographs of Knight and of his tombstone in Mount Olivet Cemetery, Frederick, Maryland.

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Wayside Theatre, Early 1960s? 9 items — 2 contact sheets; 7 prints

The origins and setting of these unmarked prints are unknown, as is the photographer. They were discovered in a file cabinet at the Wayside Theatre in the small city of Middletown, Virginia, close to Washington D.C., which was a cinema built in the 1940s before its transformation in 1962 into a small community theater. It closed in 2013.

The seven glossy black-and-white photographs, all 8 1/8 x 10 inches, and two 8x10 contact sheets show groups of African American and white actors in the middle of an unnamed dramatic production. It seems to have included music; one of the actors holds a tambourine and actors appear to be singing. In some scenes the setting appears to be a church.

The performance may have been staged by the Wayside Theatre or possibly by the Garrick Players, the former home of the director of the Wayside Theatre; or it may be a Free Southern Theater production in Washington D.C. or some other locality. Judging by dress and haircuts, the date appears to be the early to mid 1960s.

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Series consists of two subgroups, each representing a different project by photographer Petra Barth, exploring the natural and built environment as well as the human stories of the border crossing between Arizona and Mexico. Each series comprises photographic prints as well as associated electronic files.

The 57 black-and-white digitally printed photographs in the first subseries document border crossings, desert locations, and various services and shelters supported by the Comedor/Kino Border, ARSOBO/ArizonaSonoraBorder, and San Juan Bosco Albergue Para Immigrantes initiatives, in partnership with: BCA Border Community Alliance, FESAC Fondacioa Del Empresariado Sonorese, A.C. The prints measure 13x19 inches. Associated digital records include image files and one contact sheet.

The second subseries, entitled "Los Mochileros," or "The Backpackers," embodies 32 stark portraits of migrants, mostly men but also a few women, who are awaiting deportation decisions on the border between Arizona and Nogales. The prints measure 13x19 inches and are digitally printed. Associated digital records include book layouts as well as image files and Barth's statement's about the project.

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Addition comprises items related to published works along with Bingham's working files. There is a proof copy of THE BLUE BOX, an annotated typescript of "My Place," a book proposal for "Inheritance: Millicent Rogers, the Standard Oil Fortune, and the Mixed Blessing of Family Wealth," a handwritten draft of "The Last Romance," along with drafts of short stories (2013). Also includes notes on a play "Mary Breckenridge," speeches, color and black-and-white photographs (mainly documenting her family and dance), "This I believe" essay, "Women Moving Millions" file, letters, announcements, cards etc. (2012-2014), sales/royalties information for "Red Car," and printed material (Showbill for "Paducah", Modern Millwright v. 1, 2014 Sarabande Books catalog, and bound bibliography of Mary Caperton Bingham and George Barry Bingham Library).

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Online

This series includes images of statues and carvings in and just outside the Chapel's entrance as well as views and objects in the Chapel's interior. Images are primarily grouped according to the subject's location within the Chapel, as described in the Architecture of Duke University and Duke Chapel Illuminated.

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Chiefly contains audio, visual, and digital material from Into the Fields, AIM, and Levante documentary projects created by interns and students. Typical content includes: theater recordings; recorded interviews; digital photographs; digital videos; artwork; and music and poetry.

A few items are more generally related to Student Action with Farmworkers events or resources rather than to student projects, such as a copy of the 1986 documentary film "Wrath of Grapes" about the Chavez and United Farmworkers campaign against dangerous working conditions for farmworkers.

Media formats in the collection include: VHS cassettes, cassette tapes, computer diskettes, mini digital video disks, mini-disks, one film reel, and many CDs and DVDs. Some but not all media have been migrated to a server; digital files are available on request.

Students also made use of an SAF server to upload electronic project files. These have not yet been transferred to the library collection.

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Professional papers, including correspondence, writings, teaching materials, and other documents, stemming from Tom Rankin's long career in teaching and documentary arts, and serving as Director of the Center for Documentary Studies at Duke University. Includes a digital audio recording of his opening talk on February 27, 2008 at the Duke University Libraries exhibit of his work, "Near the Cross: Photographs from the Mississippi Delta." This file has been mounted on the library server and is also available online through the Duke Libraries digital exhibits website. The papers have been given basic processing.

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This Role-Playing Games series includes gameplay material from an array of role-playing games, including Dungeons and Dragons, 2300 A.D., Call of Cthulhu, Dark Conspiracy, Megatraveller, and Space 1889, including character sheets and game notes. The series also includes Dungeons and Dragons gameplay index cards used by the Murray Brothers.

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The Other Camera, circa 1970-circa 2013 25 prints — 1 box — 13x19 inches

These 25 black-and-white and color photographic prints form part of "The Other Camera" project and exhibit, curated by Paul Weinberg, and offer a view of the many different styles and approaches of 20th century South African street photography. The images were taken by male and female photographers from the 1970s through the 2010s, and were produced in inkjet format by Weinberg, then archived, digitized, and exhibited with support from the University of Cape Town and Duke University. These images are a selection of prints from the exhibit; all of the images are available through the online e-book, The Other Camera (2014).

The known artists represented in this collection are: Lucky Sipho Khoza (3 prints); William Matlala (5); Lindeka Qampi (10); and one print by Paul Weinberg. There are also six prints from the work of an unknown photographer from Maribastad, Gauteng Province (near Pretoria), from the collection of photographer and film-maker Angus Gibson.

All of the images are portraits of black South Africans, men and women. Themes include street culture, township life, the individual gaze, human identity and status, South African families, and social conditions in South Africa.

The images are all inkjet prints measuring 13x19 inches, and were exhibited at Duke University in 2014.

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U.S. Road, circa 1966-2020 492 prints — 7 boxes

As the name suggests, these photographs were taken by Jim Dow with a view camera as he traveled the highways and back roads of the United States, covering all regions from coast to coast, focusing particularly on the South, the West, and New England. The earliest images, many in New England, are in black-and-white; the majority of the images starting with the mid-70s are in color. Many of the early black-and-white photographs of signs appear in Dow's published book, Signs: Photographs By Jim Dow (2022, Nelson Atkins). Original titles and identifiers were created by the photographer.

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SNCC Photographs, circa 1963-1965 3.5 Linear Feet — 4 boxes — 100 small prints, mounted (2 1/2 x 3 1/2); 124 prints (5x7); 53 prints (11x14 to 16x20).

The 53 black-and-white photographs in this series derive from the work of photographers working with the Student Nonviolent Coordinating Committee (SNCC). Most were taken in Mississippi from 1963-1965, with some from Alabama, Georgia, Arkansas, and other unknown locations. Photographs were taken at voting rights rallies and marches, voter rights education sessions, Mississippi Freedom gatherings, Southern Freedom Schools, and the National Democratic Convention of 1964 in Atlantic City, New Jersey. There are many images from the Mississippi "Freedom Summer," 1963. Subjects include African Americans demonstrating, registering to vote, at work in agricultural fields, and in towns, at schools, or at their homes with families and children. Other subjects include African American activists, among which are Martin Luther King, Jr.; Bob Moses, Council of Federated Organizations; and Fannie Lou Hamer, co-founder of the Mississippi Freedom Democratic Party (MFDP). Other subjects include SNCC staff and photographers, elected officials, political candidates, white bystanders, and police.

The prints are almost all untitled, undated, and unattributed. Photographers in this series whose work has been identified through initials, the photographers' list in this collection, and other sources, are: Joffré Carter, Bob Fletcher, Fred DeVan, and Tamio Wakayama. Images identified as Danny Lyon's appear on two posters in the Voting Rights Materials series of this collection: "NOW" and "Is he protecting you?", but there are undoubtedly other photographs in this Photographs series which are his.

Almost all 5x7 proof prints are marked with job, roll, and frame numbers. The small 2/12 x 3 1/2 inch prints are not true photographs but photostatic halftone paper prints mounted on stiff cardstock, and are unmarked. Some of the large prints are mounted on acidic cardstock and sometimes have bumped and broken edges; please handle with care.

Photographers whose images were used in the SNCC "NOW" exhibit are listed on a SNCC exhibit planning document in the papers series of this collection, along with the state and town location of each image and a sequential number. There are 78 entries in all and 10 photographers on this list: Joffré Clarke; Bob Fletcher; Doug Harris; George Love; Danny Lyon; Francis Mitchell; Willie Squire; Fred De Van; Cliff Vaughs; and Tom (later Tamio) Wakayama. Although it can be assumed that many (but perhaps not all) of them created the images in this collection, there may be other photographers whose names do not appear on that list but whose images are present.

There is a handful of prints (5x7 and 8x10 inches) in the Exhibit-Related Materials series which are related to Betty Brown's paper records.

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The Comic Conventions and Events series includes materials from over fifty comic conventions that the Murray brothers held at their Durham home from the late 1960s through the mid 1980s. Included are photos of numerous "Mini-Cons", including black and white photos, color photos, and photo negatives. Also included are sign-up sheets which list participants for each event. The series also includes flyers and ephemera from other comic conventions in Durham and North Carolina dating from the 1960s through 2013.

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The Personal Materials series includes the Murray Brother's personal papers and effects. Included are newspaper clippings from the late 1960s and early 1970s about the Murray Brothers' collecting activities. Also included are sketches and photos of Terry and Edwin Murray as well as photos of their mother Loucile. The series includes correspondence with Bruce Coville, Erik Larsen, Gardner Fox, James Childress, Richard Hurt, and Richard Minter. It also includes a Tarzan Scrapbook, which illustrates Tarzan fandom in Durham.

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Online

While traveling in the United States during the 1960s and 1970s, Gedney shot distinctive night-time scenes in California, Montana, New York State, Pennsylvania, South Dakota, and Tennessee. The images rarely feature people, but instead focus on buildings and houses, starkly portrayed, often with a car in the foreground.

Gedney began this night work early in his career, starting with a series of photographs of the Brooklyn Bridge taken about 1959. A few street scenes in Brooklyn were also taken at night. Later night photography - and among the few examples with people - are found in the India Series, where Gedney photographed people and animals sleeping out of doors in the city.

There are more night scenes scattered throughout other series, for example, in the all-night life on the streets of San Francisco. As Gedney did not view these as part of his Night project, he filed them in their respective bodies of work. To discover all of these instances in the online digitized collection or in this inventory, one can search on the subject term, "Night photography." Additional test prints from the Night work can be found in the Film and Development Tests series.

Gedney wrote about night photography in his many journals and notebooks, found in the Writings and Notebooks Series, and book maquettes for his Brooklyn Bridge and Benares night photographs are found in the Book Projects Series. Several of Gedney's "Night" images from India were also published in a layout entitled "Ritual and the river" in Aperture (1986); the issue is found in the Printed Materials series.

Prints in this series are arranged in rough chronological order.

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To earn enough income to support his independent photographic work following graduation from Pratt Institute, Gedney found work with several New York-based small businesses, including Watson Flour Products and National Bakeries, and later, several publishers, including Glamour and Time-Life, where he met Walker Evans. He also served as photographer at a few New York weddings and a first communion. The collection includes images from Gedney's commercial work in the form of finished prints, proof prints and contact sheets. Some images only exist in contact sheet format. FInished prints are found only for the St. Josephs and Social Security series (descriptions follow). There are no examples of work for Time-Life or Glamour.

In addition to the photographs in the Commercial Work series, records for many of these assignments are located in the Grants and Work Files and the Correspondence series.

One of Gedney's first serious commissions following art school came in the late 1950s from the St. Joseph's School for the Deaf in the Bronx, and involved creating the layout and illustrations for a promotional publication for the school. The hundreds of images of young students and their teachers in classrooms, testing rooms, and playgrounds reveal Gedney's already-evident skill with portraiture, as well as his empathy for the subjects. The large prints in this series are typically mounted on thin board, with most of the prints measuring 11x14 inches.

In 1969, Gedney was one of six photographers hired to document the work of the Social Security Administration (the group included Diane Arbus). He was assigned to the Hays, Kansas Bureau, and spent about a week photographing Social Security applicants, chiefly rural Kansas farmers, pensioner, and widowers, and the Social Security representatives in their offices and in the field. Although Gedney sent the negatives to the Social Security Administration, the contact sheets and photographs remain in this collection, along with a copy of the complete catalog of photographs taken by the six photographers, in the Printed Materials series.

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The fifteen black-and-white prints are arranged in date order, as sequenced in the donor inventory. All prints are marked on the backs with various legacy identifiers. Image titles, photographer's name, and locations are sometimes present. Titles in this collection, if present, originate from the print. If there is no title, a brief description is included in library staff notes.

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The Public Activity series chronicles Heschel's long-term involvement and leadership in social activism and other public activities. The materials reflect Heschel's wide-ranging interests and influence, including his role in the civil rights movement, his continuous efforts to build interfaith relationships, his passionate support for Jews in the Soviet Union, and his deep commitment and leadership in attempts to resolve the war in Vietnam. The Public Activity series contains five subseries: Civil Rights, Interfaith, Miscellaneous, Soviet Jewry, and Vietnam. Materials in each subseries are arranged chronologically.