"A history of the conception and development of the theories that have guided archivists in their work from the late 19th through the early 21st centuries"--Provided by publisher.

Although there have been significant strides to transform the demographics of archive and museum personnel, develop new museums and heritage institutions and heritage training initiatives in post-apartheid South Africa, the Eurocentric model of the archive, museum and heritage sector has largely remained intact. Despite the euphoria around the transformation of heritage in the beginnings of post-apartheid South Africa, it can be argued that the transformation of heritage institutions has been superficial and cosmetic with the ideological foundation of the colonial archive and museum, as well as Eurocentric modalities of heritage education remaining solid, largely unmoved, and under continuing challenge. This is the thrust of this book which reflects on the transformation of archives, and museum and heritage education in South Africa and argues for meaningful transformation of the sector through a decolonisation from its Eurocentric mooring.

How do people link the past to the present, marking continuity in the face of the fundamental discontinuities of history? A Time to Gather argues that historical records took on potent value in modern Jewish life as both sources of history and anchors of memory because archives presented oneway of transmitting Jewish culture and history from one generation to another as well as making claims of access to an "authentic" Jewish culture. Indeed, both before the Holocaust and in its aftermath, Jewish leaders around the world felt a shared imperative to muster the forces and resources ofJewish life and culture. It was a "time to gather," a feverish era of collecting and conflict in which archive making was both a response to the ruptures of modernity and a mechanism for communities to express their cultural hegemony.Jason Lustig explores these themes across the arc of the twentieth century by excavating three distinctive archival traditions, that of the Cairo Genizah (and its transfer to Cambridge in the 1890s), folkloristic efforts like those of YIVO, and the Gesamtarchiv der deutschen Juden (Central or TotalArchive of the German Jews) formed in Berlin in 1905. Lustig presents archive-making as an organizing principle of twentieth-century Jewish culture, as a metaphor of great power and broad symbolic meaning with the dispersion and gathering of documents falling in the context of the Jews' longdiasporic history. In this light, creating archives was just as much about the future as it was about the past.

A Pioneering and Independent Spirit chronicles the history of San José State University's School of Library and Information Science as it evolved from a small school-library training program established in 1928 into the largest MLIS degree program in the world. Set within the heart of California's Silicon Valley, the School's history reflects the dramatic social, economic, and educational changes resulting from the information revolution in the 20th century. From the use of closed circuit television in the 1950s to microfilmed course readings in the 1970s to the delivery of courses on the World Wide Web, the School harnessed these new technologies to keep librarianship relevant as a profession and to make education for the field as widely available as possible. In March 2009, they took another bold step by going completely online. This means that now they are not only the world's largest MLIS program, but the first wholly virtual one. Based on extensive research in the university's records, Dr. Hansen shows how the School's tradition of entrepreneurship and innovation shaped its development between 1928 and 2009 and pays tribute to the administrators, faculty, and students who contributed to the School's success.

As economic, technological and cultural change gathers pace across the world, issues of music heritage and sustainability have become ever more pressing. Discourse on intangible cultural heritage has developed in complex ways in recent years, and musical practices have been transformed by safeguarding agendas. Music as Heritage takes stock of these transformations, bringing new ethnographic and historical perspectives to bear on our encounters with music heritage. The volume evaluates the cultural politics, ethics and audiovisual representation of music heritage; the methods and consequences of music transmission across national borders; and the perennial issues of revival, change and innovation. UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage provides an essential reference point for studies of music heritage. However, this volume also pays attention to important spheres of musical activity that lie outside of UNESCO’s reach and the reasons why some repertories of music are chosen for safeguarding while others are not. Some practices of art music in Europe explored in this book, for example, have received little attention despite being susceptible to endangerment. Developing a comparative framework that cuts across genre distinctions and disciplinary boundaries, Music as Heritage explores how music cultures are being affected by heritage discourse and the impact of international and national policies on grass-roots music practices.

Until the late 20th century, ‘an archive’ generally meant a repository for documents, as well as the generic name for the wide range of documents the repository might hold. An archive could be visited, and then also searched, to discover past actions or lives that had meaning for the present. While historians and historiographers have long understood the contests that archives contain and represent, the very idea of ‘the archive’ has, over the last 40 years, become the subject and object of widening and intensified consideration. This consideration has been intellectual (from scholars in a wide range of disciplines) and public (from communities and individuals whose stories are held captive, or sometimes hidden or excluded from official archives), as well as institutional. It has involved scrutiny and critique of official archives’ limitations and practices, as well as symbolic, affective and theoretical expansion and heightened expectation of what ‘the archive’ is or should be. The very language of ‘the archive’ now carries freight as administrative practice, normative value, metaphor, description and aspiration in different ways than it did in the 20th century. This collection offers a unique contribution to these reinvigorated and sometimes new conversations about what an archive might be, what it can do as a consequence, and to whom it bears custodial responsibilities. In particular, this collection addresses what it means for contemporary Australian superior courts of record to not only have constitutional and procedural duties to documents as a matter of law, but also to acknowledge obligations to care for those materials in a way that understands their public meaning and public value for the Australian people, in the past, in the present and for the future.

"This work provides a close look into how archivists and librarians worked to archive internet content"--