The Girl and Her Goat: Dale Whitney’s Photojournalism in Korea

By Tess Manjarrez ‘24

South Korea, 1963. Kim In Soon, dressed in a polka-dot dress and recently diagnosed with Hansen’s disease, or leprosy, hugs a young goat. In an era of harsh isolation tactics, Hansen’s was a cruel and lonely disease to catch. While Hansen’s is not a cause of death, it often causes permanent disfigurement and disabilities, which were treated globally as a cause for ostracism. Korean sufferers of the disease were moved from their communities and isolated on Sorok Island, a ‘leper colony’ for those whom society wished to forget. However, children in the early stages of Hansen’s were allowed to stay home on the condition that they were being treated and also not in contact with other children. Six-year-old Kim In Soon was one of these children, as photographed by Lois Dale Whitney.

Whitney, a self-taught photographer and Salem resident, was born in Chicago in 1923 and spent much of her life working in Europe, immortalizing events such as the aftermath of Hungary’s revolution, or the World Health Organization’s outreach in Italy. Whitney’s work in Europe even reached the UN, through the lenses of photo series from Turkey and Germany. In 1963, she took her photojournalism to Wedong Nyun, a village in Southern Korea being visited by a WHO-sponsored mobile leprosy team, and there met the young Kim In Soon, who had just started her first year of school. In a series of photos which capture the playfulness of the young girl as well as the isolation brought on by Hansen’s disease, Whitney’s work deeply humanizes a population made invisible by policy and social stigma.

Isolated as she was from other children, many pieces of Whitney’s photographs from this series feature In Soon engaging alone in otherwise communal activities –– we see her sitting, eating, and playing alone, even as the discolored spots characteristic of Hansen’s begin to appear on her legs and ankles. Whitney was even able to capture the moment in which Dr. Youn Keun Cha informed In Soon’s parents of her diagnosis.

child and goat

Kim In Soon, isolated after her leprosy diagnosis, hugs a young goat.

A successful photographer with achievements in both media photography and international photojournalism, Whitney moved to Oregon in 1979, where she remained until her death from cancer in 2003. Her legacy is one rich with stories and kept alive by occasional displays in the Hallie Ford Museum of Art, The Portland Art Museum, Salem Public Library, and Salem Hospital, as well as on the World Health Organization’s own website. Many of her original photographs and associated typed or handwritten context are housed in Willamette University through the Pacific Northwest Artists Archives (PNAA).

While Whitney’s Korean series shows events such as WHO-backed doctors visiting villages or conducting treatments, the truly standout piece in this series is that of Kim In Soon with her goat. By Whitney’s own admittance, the black-and-white photograph is underexposed –– “A great shot”, she writes in her brief notes on the piece, found in the WU archives. “Photo was made inside a barn where we had taken shelter because of rain.” Perhaps the effect was mere happenstance, but its significance remains. The result of the underexposure is a totally black background, a stark contrast to In Soon’s bright dress and white goat. The goat itself seems to be smiling at the camera as In Soon cradles its head, a point of joy in an otherwise lonely future. Truly, with the dark background intent on swallowing them up, it seems in this photograph that Kim In Soon and her goat are alone in the world.

Such images beg the question: what, then, happened to Kim In Soon? Was she, like many victims of Hansen’s, sent to live on Sorok Island? Did she become permanently scarred, and ostracized as a result? Well, no. While Whitney did not add these details in her photograph description, the World Health Organization did indeed check in. Hansen’s disease is treatable, after all, as long as it is caught early. Kim In Soon needed only to continue taking her sulfone tablets regularly for more than a year. She recovered well and was able to continue her education, with the “arrested”, or inactive, lesions on her legs the only reminder of her illness.

child eating alone

Kim In Soon, eating alone.

The practice of sending those with Hansen’s disease to Sorok Island was officially abolished in 1963, the year Whitney met Kim In Soon, but of course, unofficial abandonment or isolation of ‘lepers’ continued. Indeed, it was not until 2007 that a bridge opened from Sorok Island to the mainland, finally connecting the historically isolated island and its residents to the rest of the country. Decades later, Lois Dale Whitney’s adventures, her notes, and the lives she captured on her 35mm negatives, remain immortalized and frozen in time — much like six-year-old Kim In Soon’s soft smile and the moment she shared with her young goat companion.

 

*Photograph 07 W.U., 1963, Subseries A, Box: 3, Folder: 7. Dale Whitney papers, WUA017. Willamette University Archives and Special Collections.


Cranberries, Voter Registration, Tsunamis and Ronald Reagan: Congressional Collections

By Susan Irwin, University Archivist

What connects cranberries, voter registration, tsunamis, and Ronald Reagan?  The Mark O. Hatfield congressional collection. Contained within the collection are legal, economic, social and scientific data on such wide ranging topics as health care, the environment, social security, immigration, agriculture, national defense, technology, and transportation. The labeling of cranberry juice products, proposed voter registration legislation, appropriations requests for a tsunami warning system, and the inauguration of Reagan as President of the United States (Hatfield served as chairman of the inaugurations committee) are a few examples of the disparate documentary evidence found in the Hatfield collection.

Mark Hatfield’s political career spanned five decades.  Growing up in Salem, Oregon he graduated from Willamette University in 1943.  After serving in the U. S. Navy during World War II, he completed a Master’s Degree in Political Science at Stanford University. Returning to Salem, he worked as an assistant professor and Dean of Students at Willamette.

congress seal

Seal of the United States Congress.

Hatfield launched his political career in 1950, at the age of twenty-eight, by winning a seat in the state legislature, serving first in the Oregon House of Representatives and then the Oregon Senate.

Mark Hatfield

Mark Hatfield, Governor of Oregon

He went on to serve as Secretary of State for two years, followed by two terms as Governor. In 1966, Hatfield successfully ran for the U. S. Senate, where he remained until 1997.

Hatfield donated his political papers to Willamette University.  The collection spans his entire career, but the majority of records relate to his time in Congress. Hatfield’s collection, similar to other twentieth century congressional collections, is roughly twelve hundred cubic feet in size. In 2020, Willamette University archivists began processing the congressional records portion of the collection, arranging, describing and housing the records for preservation and access. Processing started with the Legislative materials, which touch upon nearly every legislative issue that came before the Senate from 1967-1996.  Work is currently focused on the Media and Constituent Service sections, which document communications and interactions between Hatfield and his constituents through newspaper columns, speeches, press releases, photographs and correspondence.  Once completed, processing will proceed on the campaign, office administration and memorabilia sections.

archives boxes

Hatfield records to be processed.

Processing will result in the creation of a guide describing the scope and content of the collection along with a folder-level inventory.

The collections of individual senators and representatives, such as the Hatfield collection, are an important source of information on the nation’s and the region’s economic, social, and legal issues, and are rich in white papers, technical reports, and scientific data not easily found elsewhere. The collection, along with the guide, opens to researchers on July 12, 2022.

In the meantime, check out the exhibit of Hatfield memorabilia, located on the second floor of the Hatfield Library.

Processing of the collection funded through the Institute of Museum and Library Services Library Services and Technology Act grant, administered through the State Library of Oregon and by the National Historical Publications & Records Commission’s (NHPRC) Access to Historical Records grant.

For more information on the collection contact archives@willamette.edu.


Shakespeare’s Second Folio

By Doreen Simonsen
Humanities & Fine Arts Librarian, dsimonse@willamette.edu

Folio Second Edition in Archives
“Dig those crazy hieroglyphics!”
“Pardon me sir, but are you referring to that copy of Shakespeare’s Second Folio which you have in your hand?”

This is how Betsy Perry started her article, “Vault Harbors $1000 Book,” in the January 23, 1959 issue of the Willamette Collegian about the library’s valuable rare books. The “hieroglyphics” were 17th century typesetting, which even 21st century students struggle to read. Typesetting issues are one of the factors that differentiate the Second Folio from its famous sibling, the First Folio, printed in 1623, by William Jaggard for Edward Blount, John Smethwick, and William Aspley. Of the 750 copies printed, only 235 copies of the First Folio remain today.

By 1632, William Jaggard and Edward Blount had died, and the copies of the First Folio had sold out. Thomas Cotes printed all the copies of the Second Folio for five different publishers: John Smethwick, William Aspley, Richard Hawkins, Richard Meighen, and Robert Allot. Each of these publishers owned the copyrights to different plays written by Shakespeare. John Smethwick held the copyright for Hamlet, Romeo and Juliet, Love’s Labour’s Lost, and The Taming of the Shrew. Willamette’s copy of the Second Folio was printed for John Smethwick, which is one of the rarest versions of this work. (Please watch this video from Peter Harrington Booksellers to learn more about the Smethwick version of the Second Folio.) Watermark Example Click on this image to the right to see a close-up of the watermark in a page of our Smethwick Second Folio.

No definite census can be found reporting the number of Second Folio copies printed, but in 1990 there were 178 Second Folios in libraries in the United States, as well as several more in international libraries (Otness, 65). The Folger Shakespeare Library, famous for its collection of 82 First Folios, also owns 58 copies of the Second Folio.

But what is a folio and what makes it so special? Folios are large books comprised of pages that have only been folded once before being gathered into quires (four sheets of paper folded to form eight leaves) that are then stacked and sewn together. During Shakespeare’s life, (1564-1616), many of his plays had been printed in a quarto format, which is half the size of a folio. Folios are meant to be impressive works, like coffee table books. The playwright Ben Jonson, Shakespeare’s contemporary, published a collection of his own plays in a folio version in 1616. Jonson’s and Shakespeare’s folios were the first collections of drama meant to be read as a book, giving printed drama a place of esteem in the world of English literature. In Shakespeare’s time, plays were considered merely low brow entertainments, not worthy of serious study.

By 1632 Shakespeare’s plays were 40 years old, and some of the language used in the First Folio had become dated. The editors of the Second Folios updated some of the language, corrected hundreds of typographical errors, and made “1679 `deliberate editorial’ changes, 459 alterations of grammar, 374 changes affecting the thought, 359 affecting meter, and 357 affecting style, and 130 changes pertaining to the action.” (Black and Shaaber, 45). They added mythological and Classical allusions which the typesetters of the First Folio missed. A good example of this is this quote from Henry VI, Part I, Act I, Scene 4, lines 95-96:

First Folio (1623) example:
First Folio Example

 

 

Second Folio (1632) example:

Second Folio Example

 

 

 

Subsequent versions of this play up to the standard versions used today, such as The Complete Pelican Shakespeare (2002), now include the name Nero.

“Plantagenet, I will – and like thee, Nero,
Play on the lute, beholding the towns burn.”

These changes in the text of the Second Folio mark the beginning of Shakespearean scholarship. Second Folio Mark Changed TextIt wasn’t just the editorial work of the publishers of Shakespeare’s Folios that reflect this change in attitude to the words written by Shakespeare.  Readers themselves engaged with the texts of these plays.  They studied their personal copies of the Folios and made annotations in them. The most famous of these annotated copies belonged to King Charles I (1600–1649), son of James I, who inherited the British throne after the death of Queen Elizabeth I. Charles I’s copy with his own annotations is in Windsor Castle, part of the collection of Queen Elizabeth II.  Here you can see the names of favorite characters written in King Charles I own hand.

The other thing that makes the Second Folio distinct from the First Folio is that it contains the first ever published poem by a young, 24-year-old John Milton, the author of Paradise Lost.

John Milton Poem

For a good introduction to the meaning of this poem and the significance of the Second Folio please watch this video of Ari Friedlander, University of Dayton.

In the 1950s, Charles McCulloch, Chairman of the Willamette Board of Trustees, donated the rare 1632 edition of Shakespeare’s Second Folio to the university. In the Willamette University Archives, you can find articles about this generous donation, as well as students’ reactions to seeing the Second Folio and other rare books. (See: McCulloch Gives Rare Cotes Book to WU Library, Benefactor Gives Rare Volume of Shakespeare Plays to Library.)

Over the years, the Second Folio has been brought out of the vault to honor visiting lecturers, (See: Rare Volumes Shown), but more often than not, it has been brought to the Mark O. Hatfield Library’s Instruction Room to show it to students in English and other classes.

Below you can see a group of Theatre History students in November 2015 who were delighted to see the text of Macbeth and check out the watermarks in our 1632 Second Folio. (Some students even took selfies of themselves with the Second Folio).

Students looking at the book in the Instruction Room.

Pandemic-related quarantine issues currently prohibit viewing our rare books in person, but we look forward to the days when students and scholars can come to the Hatfield Library to see our Second Folio for themselves. In the meantime, there are wonderful digital versions that you can enjoy online.  (See: Mr. William Shakespeares comedies, histories, tragedies: published according to the true originall copies. The second impression. )

 

Bibliography

Black, Matthew W., and Shaaber, M. A. Shakespeare’s Seventeenth-century Editors, 1632-1685. New York, London: Modern Language Association of America; Oxford UP, 1937.   https://archive.org/details/shakespearesseve00blac/page/n3/mode/2up

Douglas, Adam. “Shakespeare Second Folio – John Smethwick Imprint, 1632.” Peter Harrington Rare Books. Video. https://vimeo.com/61085857

“Folios of William Shakespeare.” Walter Havighurst Special Collections of the Miami University Libraries at Miami University, Oxford, Ohio. https://digital.lib.miamioh.edu/digital/collection/wshakespeare

Friedlander, Ari. “Shakespeare: Second Folio.” University of Dayton. Video. https://www.youtube.com/watch?v=33Ep_SjErDE

“King Charles I’s Copy of Shakespeare.” British Library Collection Items. https://www.bl.uk/collection-items/king-charles-is-copy-of-shakespeare

MacDougall, Bill. “Benefactor Gives Rare Volume of Shakespeare Plays to Library.” Willamette Collegian 19 May 1950: 3.

“McCulloch Gives Rare Cotes Book to WU Library.” The Willamette University Alumnus 6.3 (1950): 5.

Otness, Harold M. The Shakespeare Folio Handbook and Census. New York: Greenwood, 1990. Print. Bibliographies and Indexes in World Literature ; No. 25.

Perry, Betsy. “Vault Harbors $1000 Book.” Willamette Collegian 23 January 1959: 2.

“Rare Volumes Shown” The Willamette University Alumnus 4.3 (1957): 6.

Shakespeare, William. Mr. William Shakespeares Comedies, Histories, and Tragedies. The 2nd Impression. ed. London: Printed by Tho. Cotes, for John Smethwick, and Are to Be Sold at His Shop in Saint Dunstans Church-yard, 1632. Print.  https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/11t0l49/CP7199449290001451

Shakespeare, William, and Alfred Harbage. Complete Pelican Shakespeare. , 2002.

Smith, Emma.  “Wadham’s Four Shakespeare Folios.” Wadham College, University of Oxford. 18th February 2019. Video. https://www.wadham.ox.ac.uk/news/2019/february/wadhams-four-shakespeare-folios

“What Is the Second Folio of William Shakespeare?” Meisei University Shakespeare Collection Database – Meisei Copy, http://shakes.meisei-u.ac.jp/e-second.html


A “New” Chant for Christmastide

By Doreen Simonsen
Humanities and Fine Arts Librarian

Image Comparing 15th Century Chant Manuscripts

Somewhere in Europe in the 15th century, a choir sang an Alleluia followed by an Offertory on the Feast of the Holy Innocents on December 28th. A page from a book that contained parts of these songs was discovered last summer in the Vault of the Mark O. Hatfield Library. We do not know who donated this manuscript page to the library, but through the help of faculty members in the Music and Classical Studies Departments at Willamette University and elsewhere, we have been able to reveal its secrets and show how it relates to the holiday season.

Image of Medieval & Renaissance Manuscripts

Psalter
France, Paris, between 1495 and 1498
MS M.934 fol. 141r
Morgan Library and Museum

This large sheet of vellum (parchment prepared from animal skin) is 20 ⅞ inches high by 15 ⅔ inches wide and has neumatic (plainsong) notation on a four-line staff with texts in Latin. Chants are written in neumes, which are notes sung on a single syllable.

There is a large Illuminated initial in the lower left-hand corner of second page. (To see how this page and illumination was created, please watch this excellent video, Making Manuscripts, from the Getty Museum.) The reason for the large size of this page was that it was meant to be read by several members of a choir at one time. The expense of creating manuscript books meant that it would be more economical to create one large book for several people to use rather than several smaller books for each person in the choir to hold.

Here is an illustration from a Psalter (A book of Psalms) showing a group of clerics singing from a large book with musical notation, similar in size and format to our manuscript.

Image of manuscript fragmentIdentifying the Texts:
Professors Robert Chenault and Ortwin Knorr of Willamette University’s Department of Classical Studies identified the texts found on these two pages.

This first page (or recto page) contains the following words and word fragments:
…tis eius; laudate eum in firmamen-

And the second page (or verso page) contains the rest of the phrase:
to virtutis eius.

These phrases combine to form the end of this Bible Verse:
Alleluia. Laudate Dominum in sanctis eius; laudate eum in firmamento virtutis eius.

 

 

Image of manuscript fragmentPsalm 150, Verse 1 (King James Version) Praise ye the Lord. Praise God in his sanctuary: praise him in the firmament of his power.

At the bottom of the second (verso) page, they identified the words: Anima no- which Dr. Richard Robbins (University of Minnesota-Duluth) identified as belonging to this verse:

Anima nostra sicut passer erepta est de laqueo venantium; laqueus contritus est, et nos liberati
sumus.

Psalm 123, Verse 7 (King James Version) Our soul is escaped as a bird out of the snare of the fowlers: the snare is broken, and we are escaped.

The two texts are separated by a red abbreviation of the word Offertory.

Identifying the Music
Professor Hector Aguëro of the Music Department at Willamette University shared images of our manuscript with his colleague Professor Richard Robbins, Director of Choral Activities at the University of Minnesota-Duluth and a scholar of choral music, especially Italian sacred music of the early Baroque.

Dr. Robbins identified our manuscript as possibly being part of a Gradual, which is a book containing chants used in the Catholic Mass throughout the year. Robbins identified the first text and melody as the end of an alleluia verse, specifically Laudate Deum (mode IV). The second melody is an offertory on the text Anima Nostra (mode II).

Both of these chants can be found in the Liber Usualis, a book of commonly used Gregorian chants in the Catholic tradition.

Image of Alleluia Chant

The notation on the library’s manuscript starts at the red line in the Alleluia above, and it ends at the red line in the Offertory Anima No|stra below.

Image of Anima Nostra Chant

You can hear a performance and follow the texts of both chants here:

Alleluia, Laudate Deum
Offertory: Anima Nostra

The text of our missal differs from that of the Liber Usualis because of its early date. It was likely written in the 15th century, and, as Dr. Robbin explains, that means it was written before the Council of Trent (1545–63) codified the Catholic Mass and the order of the chants. There was a great deal of variety in Missals before the Council of Trent, so one cannot be sure when these melodies were used during the liturgical year. However, according to Dr. Robbins, these tunes match the tunes that appear in the Holy Innocents / Epiphanytide sections in post-Trent missals.

Ornate illuminated letter D shows Jesus riding Donkey colt

Dr. Robbins also pointed out that the illuminated letter A is ornate, which would have also been more appropriate for a Christmas use. The fancy illuminated letter A is probably also the reason we only have just one sheet from this gradual. These pages could contain ornate decorations and for this reason, they were frequently removed from graduals and treated as single artworks. Here you can see similar gradual pages from the Metropolitan Museum of Art. And this page shows the entry of Jesus into Jerusalem on Palm Sunday, all within the large initial D.

Teaching with a 15th Century Manuscript
The best thing about discovering this “new” manuscript in the vault was being able to share it with the students and faculty of Willamette University. In September 2019, as part of his Music History I course, Professor Aguëro had his Music History students transcribe the music written on the library’s Chant manuscript. Here you can see them displaying their work. It was such a delight to have students work with a manuscript from the library’s Rare Books Collection.

Image of Professor Professor Aguëro and his Music History I class

From left to right: Ethan Frank, Matt Elcombe, Professor Aguëro, Sam Strawbridge, Kate Grobey, and Sophie Gourlay

Acknowledgments

Many thanks to Professors Robert Chenault and Ortwin Knorr of the Department of Classical Studies and Professor Hector Aguëro of the Department of Music at Willamette University, and especially to Professor Richard Robbins, Director of Choral Activities at the University of Minnesota-Duluth. Their combined scholarship helped us explicate the text and illuminate the value and beauty of this seasonal manuscript.

 

Bibliography

Abbey of Solesmes. The Liber Usualis 1961. Internet Archive, http://archive.org/details/TheLiberUsualis1961. Accessed 27 Nov. 2019.

Anima Nostra Sicut Passer Erepta Est. YouTube, https://www.youtube.com/watch?v=2UrXb2QUSsI. Accessed 27 Nov. 2019.

“Bartolomeo Di Domenico Di Guido | Manuscript Leaf with Entry into Jerusalem on Palm Sunday in an Initial D, from a Gradual | Italian | The Met.” The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/469046. Accessed 27 Nov. 2019.

Chant Manuscript, ca. 15th Century. https://libmedia.willamette.edu/commons/item/id/163. Accessed 27 Nov. 2019.

Council of Trent. Sacrosancti et œcumenici Concillii Tridentini Pavlo III, Ivlio III, et Pio IV, PP. MM. celebrati canones et decreta. Apud Cornab Egmond et Socios, 1644.

“Council of Trent | Definition, Summary, Significance, Results, & Facts.” Encyclopedia Britannicahttps://www.britannica.com/event/Council-of-Trent. Accessed 27 Nov. 2019.

Gregorian Chant Notation. http://www.lphrc.org/Chant. Accessed 27 Nov. 2019.

Laudate Deum – Gregorian Chant, Catholic Hymns. YouTube, https://www.youtube.com/watch?v=kaVnBFhiwqU. Accessed 27 Nov. 2019.

Making Manuscripts. YouTube, https://www.youtube.com/watch?v=nuNfdHNTv9o&feature=youtu.be. Accessed 27 Nov. 2019.

Psalter, MS M.934 Fol. 141r – Images from Medieval and Renaissance Manuscripts – The Morgan
Library & Museum. http://ica.themorgan.org/manuscript/page/120/77003. Accessed 27 Nov. 2019

Robbins, Richard. “Re: Newly discovered 15th c. Chant manuscript.” Received by Hector Aguero, 22 Aug. 2019.