Collectively, undergraduates at Berkeley speak more than 220 different first languages. Offering instruction in at least 60 languages, Berkeley is one of the nation’s top institutions for the breadth and depth of its world languages program. The program also values revitalizing and preserving endangered languages. Photo: Neil Freese/UC Berkeley.
At least 60 languages — from Mongolian and Old Norse to Polish, Catalan, Ancient Egyptian, Arabic and Biblical Hebrew — are taught at UC Berkeley, one of the nation’s top institutions for the breadth and depth of its world languages program. A growing emphasis also is being placed at Berkeley on revitalizing and preserving endangered languages, most of them spoken by Indigenous peoples.
To help honor more than 150 years of global languages at Berkeley, 63 colorful banners will begin flying throughout campus today, and for the next 18 months, that feature facts about the campus’s language programs, as well as 21 bilingual and multilingual faculty members, students and alumni.
Among the messages on the banners:
Collectively, undergraduates at UC Berkeley speak more than 220 different first languages.
More than 500 language learning classes are taught at Berkeley annually.
More than 6,000 Berkeley students enroll in those classes each year.
In 1872, the first endowed chair in the UC system was created — for the study of East Asian languages at Berkeley.
Students at all UC campuses can take online African language classes at Berkeley, which is well-known for Amharic, Igbo and Swahili instruction.
Dr. Mark Strauss and Robert Merriman at the Estado Mayor of the Brigade at the Fuentes de Ebro, probably on October 12, 1937. ALBA Photo 11-0766 Tamiment Library, New York University.
Please join us in celebrating the memory of the UC Berkeley graduate student in economics, who gave his life fighting fascism in Spain as a member of the Abraham Lincoln Brigade.
Remembering Robert H. Merriman (1908-1938):
From Berkeley to the Trenches of the Spanish Civil War
Robert Hale Merriman (1908-1938) was a UC Berkeley graduate student in economics and native Californian, who was among the first of some 2,800 American men and women to join the International Brigades to fight for democracy during the Spanish Civil War (1936–39). This diverse and racially integrated group of volunteers formed the unit known today as the Abraham Lincoln Brigade, in which Merriman was quickly promoted to major, becoming one of the highest-ranking Americans in the conflict. He went missing in action on April 2, 1938, near the Ebro River in the province of Tarragona.
The University of Barcelona’s DIDPATRI research group has offered UCB a second casting of the commemorative plaque that stands today in the village where it is believed that Merriman was held and then executed by the fascists. We are launching a fundraiser to cover the costs of its installation at the center of campus near Memorial Glade, which honors UC Berkeley veterans of World War II.
This memorial will contribute to the educational mission of the University as a readily accessible stop for campus tours, as well as a relatable point of reference for interdisciplinary classes touching on twentieth century history. Its location near The Bancroft Library, where the Bay Area Veterans of the Abraham Lincoln Brigade Post Records are archived, will also call attention to the research opportunities available there. These records were donated by Merriman’s widow, Marion Merriman Wachtel, who accompanied him in Spain where she was also a member of the Abraham Lincoln Brigade.
Bibliodiversity Day was created in 2010 by Latin American publisher members of the International Alliance of Independent Publishers, a professional collective that brings together more than 800 independent publishing houses from over 55 countries around the world.
Since then, the event has taken place every year, especially in Latin America where the term “bibliodiversidad” was first coined. On September 21, the first day of spring for the southern hemisphere, publishers, booksellers, book professionals and readers are invited to celebrate independent publishing and bibliodiversity.
Bibliodiversity is the response to the huge imbalance in the publishing market, where commercial logic vastly prevails over intellectual adventurousness, characteristic of small, independent, or unconventional publishers. For academic libraries, the imbalance between commercial and independent publishers is further exacerbated by institutional preferences for digital over print. Faced with the continued prevalence of print publishing in most regions of the world (including Europe), the spectrum of viewpoints collected and preserved by academic libraries risks becoming impoverished without the conscious intervention of librarians and book dealers in charge of such curatorial decisions.
With that here are a few recent acquisitions to showcase from the Romance languages collection on this day of bibliodiversity:
This year’s welcome back newsletter for those working in the Romance languages focuses on digital and print resources. For the most up-to-date information on the UC Berkeley Library’s services, please continue to check the Library’s Get Help page.
A substantial run of the Spanish weekly film magazine Cinegramas: Revista Semanal (1934-36) was acquired months before the Covid pandemic hit but can now be consulted in The Bancroft Library. It ceased publication with the outbreak of the Spanish Civil War in July 1936.
Cover art for AOQU III, 2 (2022) by Antonio Possenti.
As serials costs continue to soar and academic library budgets continue to decline, Open Access (OA) remains a viable path for knowledge sharing in different disciplines. In the wake of the $850k serials cancellation project currently underway, here’s one online journal that will emerge unscathed. AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica is published at the Università degli Studi di Milano (University of Milan) and is now in its fourth year.
This biannual peer-reviewed journal aims to be a forum for scholars from multiple disciplines to discuss epics beyond linguistic, cultural and chronological boundaries. Epic poetry will be seen as a cultural, moral and ideological model, defining self-perception in history and society, in relationship with other cultures, ideologies as well as the collective imagination.
Journals in the Romance languages in Doe Library’s Heyns Reading Room.
You need not fret about L’Infiniti, Écrits de Paris, Revue des deux mondes, Revue des études Italiennes, Revista de occidente, Claves de razón práctica, El Mediterráneo, Atena, MicroMega, Humanitas, Europe, Misure critiche, Commentaire, Nuova antologia, Il Mulino, and many more journals in the Southern European collection. These have evaded cancellation for now in the second year of a two-year planned reduction of UC Berkeley Library’s acquisitions and licensing budget.
This week, the Library has shared with the campus via CALmessages a complete list of proposed serials cancellations for public comment until May 12. For 2023/24, the budget for recurring annual costs such as subscription databases, journal subscriptions, ebook and journal packages will be reduced by $850K. The Arts and Humanities portion of the serials reduction came to about $165,000. Much of this was met through a renegotiation of the price share for a statewide Taylor & Francis journal package that met about $65,000 of our target. The remaining $100,000 came from the subject funds. (For Latin American and Caribbean Studies, please scroll down to the Social Sciences grouping.)
The proposed list of cancellations was developed to minimize the impact on the community by focusing on duplicative subscriptions; journals and databases that are available open access or in other ways; and the most seldomly accessed journals and databases. Together, subject librarians have reviewed all subscriptions and prioritized retaining titles based on strength of need and available alternatives for access. Across disciplines, the total number of titles came to 1,204 which includes large packages. These ranged from very cheap (Annali di statistica @ $9.67/year) to exorbitant (Greenwire for $17,544/year).
These exercises are never easy but have become a regular part of the scholarly resources life cycle as academic libraries continue to endure rapidly declining budgets for an expanding terrain of expensive intellectual materials in both print and digital formats. The last serials reduction was in 2018 in the amount of $1.5M. At the beginning of this year, the Library reduced its discretionary budget (mostly for books) by $850K and two years earlier by $1M.
Including our recent reductions in 2018 and 2020, this year’s serials reduction will bring the total annual reduction in acquisitions and licensing to $4.425 million – an approximately 35% reduction of campus, state, and unrestricted funding for collections since 2016. Without an influx of funding from the campus and the state, the UC Berkeley Library can expect to see another round of budget cuts in the near future.
For the month of April, I will be posting on Instagram nearly every day the cover of a different journal in the Romance languages that we are retaining access to for now in either print or digital form.
It’s that time of year when we choose new ebook titles from OpenEdition. Below you will find a few that have made it to the list. Please send other recommendations to the Librarian for Romance Languages by April 1.
Since 2014, the UC Berkeley Library has supported this initiative based at the Université d’Aix-Marseille to open scholarly content from Europe and France in particular to the world. The Freemium program allows the UC Berkeley community to participate in an acquisitions policy that both supports sustainable development of open access (OA) and that respects the needs of teaching, research and learning communities. With our participation, faculty, students, and other researchers can benefit from greater functionality while making it possible for anyone in the world to view in html and in open access 70% of the ebook catalog of more than 13,000 titles.
Through the Freemium model, UC Berkeley gains access to preferred formats (pdf, epub, etc.) with no DRM quotas and seamless access to the content with UC Library Search.
Francisco de Goya and the Art of Critique probes the relationship between the enormous, extraordinary, and sometimes baffling body of Goya’s work and the interconnected issues of modernity, Enlightenment, and critique. Taking exception to conventional views that rely mainly on Goya’s darkest images to establish his relevance for modernity, Cascardi argues that the entirety of Goya’s work is engaged in a thoroughgoing critique of the modern social and historical worlds, of which it nonetheless remains an integral part. The book reckons with the apparent gulf assumed to divide the Disasters of War and the so-called Black Paintings from Goya’s scenes of bourgeois life or from the well-mannered portraits of aristocrats, military men, and intellectuals. It shows how these apparent contradictions offer us a gateway into Goya’s critical practice vis-à-vis a European modernity typically associated with the Enlightenment values dominant in France, England, and Germany. In demonstrating Goya’s commitment to the project of critique, Cascardi provides an alternative to established readings of Goya’s work, which generally acknowledge the explicit social criticism evident in works such as the Caprichos but which have little to say about those works that do not openly take up social or political themes. In Francisco de Goya and the Art of Critique, Cascardi shows how Goya was consistently engaged in a critical response to—and not just a representation of—the many different factors that are often invoked to explain his work, including history, politics, popular culture, religion, and the history of art itself.
Anthony J. Cascardi is the Sidney and Margaret Ancker Distinguished Professor at the University of California, Berkeley. He is the author of numerous books, including The Consequences of Enlightenment; Cervantes, Literature, and the Discourse of Politics; The Subject of Modernity; and The Cambridge Introduction to Literature and Philosophy.
This book addresses the unique and profound indeterminacy of “Creole,” a label applied to white, black, and mixed-race persons born in French colonies during the nineteenth century.
“Creole” implies that the geography of one’s birth determines identity in ways that supersede race, language, nation, and social status. Paradoxically, the very capaciousness of the term engendered a perpetual search for visual signs of racial difference as well as a pretense to blindness about the intermingling of races in Creole society. Darcy Grimaldo Grigsby reconstructs the search for visual signs of racial difference among people whose genealogies were often repressed. She explores French representations of Creole subjects and representations by Creole artists in France, the Caribbean, and the Americas. To do justice to the complexity of Creole identity, Grigsby interrogates the myriad ways in which people defined themselves in relation to others. With close attention to the differences between Afro-Creole and Euro-Creole cultures and persons, Grigsby examines figures such as Théodore Chassériau, Guillaume Guillon-Lethière, Alexandre Dumas père, Édouard Manet, Edgar Degas, the models Joseph and Laure, Josephine Bonaparte, Jeanne Duval, and Adah Isaacs Menken.
Based on extensive archival research, Creoleis an original and important examination of colonial identity. This essential study will be welcomed by specialists in nineteenth-century art history, French cultural history, the history of race, and transatlantic history more generally.
Darcy Grimaldo Grigsby is Richard and Rhoda Goldman Distinguished Professorin the Arts and Humanities at the University of California, Berkeley. She is the author of Enduring Truths: Sojourner’s Shadows and Substance; Colossal: Engineering the Suez Canal, Statue of Liberty, Eiffel Tower, and Panama Canal; and Extremities: Painting Empire in Post-Revolutionary France.
Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya’s renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation.
The Art of Witnessing: Francisco de Goya’s Disasters of War provides a new account of Goya’s print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya’s artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war’s atrocities was central to Goya’s project, the lasting power of the print series stems from the artist’s complex moral and aesthetic meditations on the subject.
Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya’s masterpiece extends far beyond conventional understandings of visual testimony.
Michael Iarocci is professor of Modern Spanish Literature and Culture (18th-21st centuries) in the Department of Spanish & Portuguese and the Associate Dean of Arts and Humanities at UC Berkeley. He received his Ph.D. from the University of Pennsylvania. Comparative and Transatlantic Hispanic Studies. Literature and geopolitics. Aesthetics and ideology. Visual culture. His previous books include Enrique Gil y la genalogía de la lírica moderna (Juan de la Cuesta, 1999), and Properties of Modernity: Romantic Spain, Modern Europe and the Legacies of Empire (Vanderbilt University Press, 2006).
![Francisco de Goya and the Art of Critique [cover]](https://update.lib.berkeley.edu/wp-content/uploads/2023/01/art-of-critique.png)
![Creole: Portraits of France’s Foreign Relations During the Long Nineteenth Century [book cover]](https://update.lib.berkeley.edu/wp-content/uploads/2023/01/CREOLE.jpg)
![The Art of Witnessing: Francisco de Goya's Disasters of War [cover]](https://update.lib.berkeley.edu/wp-content/uploads/2023/01/art-witnessing.png)