In the early seventeenth century, French Catholic missionaries arrived in the region of New France now known as Quebec intending to make Christians out of the Amerindian population. Over the next century and a half, the missionaries proceeded to build schools and hospitals and to establish their orders in the colony. Two of the Catholic orders that sent members were the Jesuits and the Ursulines. Both orders concerned themselves with the education and conversion of the Amerindians, mostly the Huron tribe. Through their missionary activities, they formed a nascent community of individuals with shared beliefs and purposes. A number of factors, including their geographic location, their connections to their founding orders back in France, and the particular social environment surrounding them caused the Jesuits and Ursulines to live and work differently from their counterparts in France. These differences caused the missionary community to develop a distinct identity. Using The Jesuit Relations and Allied Documents and the correspondence of Ursuline Mother Superior Marie de l’Incarnation, this research project examines the distinct identity missionary communities in New France developed. These sources record the daily activities of the Jesuits and the Ursulines in New France, while also revealing how individuals of each religious order understood their collective mission, which was characterized by interaction and cooperation between the orders. More universally, this project sheds light on how individuals form new communities and the way identities, even institutional identities, adapt to new environments.

Emma B. Andrews' diaries give insight into the lives of archeologists working in Egypt’s Valley of the Kings at the turn of the last century. Due to her association with the archeologist Theodore Davis, Andrews had a unique opportunity to see the excavations in the Valley of the Kings firsthand during her travels between 1889 and 1913. Though these diaries provide valuable cultural, social and archeological perspectives on this period of Egyptian history, they have gone largely unnoticed by the academic community, and this project intends to make these works available as invaluable for academia. In order to bridge a gap in the publishing world, the NEH-funded Newbook Digital Texts project provides a unique environment for the multi-media publication of texts, transcriptions, translations, and annotation of works that are not compatible with traditional publishing or available large-project digital platforms. Newbook Digital Texts’ collaborative nature enables individual projects to inexpensively adapt to the project, providing opportunities for individuals to publish academic works with less expense and hassle. It also enables people to access important texts and resources more easily. As undergraduate researchers, we have the opportunity to work with these primary texts, learning useful digital humanities skills. At the beginning of the process, we learned how to create a structured transcription, allowing us to auto-tag the text. During this process, we have been able to complete a structural analysis of the text. We all worked with XML formatting, creating name lists, and doing content tagging within the text. Additionally, we completed independent research for inclusion in the project’s Wikipedia. Upon reading through the diaries and editing them, our project recognized important links to other excavators and research done in the Valley of the Kings, and we believe the diaries will fill gaps within academia in this field.

The JMS Diaries is a collection of 16 original diaries and 30 transcriptions of original diaries written by Joseph Mathia Svoboda, an employee with the Lynch Brothers’ Tigris and Euphrates Steam Navigation Company. He wrote his daily accounts of life on the Euphrates rivers between 1862 and 1908. The diaries give us insight into the everyday life of people in Iraq during the later half of the 19th Century. These diaries offer valuable cultural, social and anthropological perspectives about Iraq during this period and are invaluable to academia as primary source documents. The NEH-funded Newbook Digital Texts in the Humanities project works to transform such valuable primary source documents into digital texts in order to make them more accessible to scholars. In order to further this academic resource development, the project has been licensed with the Library of Congress as an independent publishing house. In this way, the Newbook project offers a collaborative environment in which individual projects can be inexpensively adapted, providing opportunities for individuals to publish academic works with less expense and inconvenience. It also enables scholars and the general public to access important texts and resources more easily. As undergraduate researchers, we work with these primary texts learning both research and digital archiving skills. We work through a five phase process consisting of transcribing, editing, analyzing, encoding and formatting each text. Each phase offers us a different challenge and requires a different skill set. Over the quarter our work varies from the physical transcriptions of the diaries to creating Perl scripted programs and using XML to markup and digitize the texts. Since beginning the project in September 2012, we have completed two diaries consisting of 400 pages each, and continue to work toward advancing this evolving, ongoing repository of primary source documents.

Rio de Janeiro is infamous for violence. In the city’s large, informal shantytowns known as favelas, violent drug gangs rule with impunity while a corrupt and murderous police force contributes to distrust of formal government. With Rio scheduled to host the World Cup in 2014 and the Olympics in 2016, pressure to tame the favelas and reduce violent crime is high. Facing the need to try something new, in 2008 Rio’s leadership introduced an innovative, community-oriented policing program known as UPP in an attempt to “pacify” the favelas. The program represents a paradigm shift in policing methods, focused on breaking down the adversarial relationships between favela residents and police and encouraging community involvement and integration. It has shown impressive progress: in favelas that have received UPPs, murder rates have fallen to nearly zero. However, much remains to be done--the UPPs are an expensive fraction of the police force, and skeptics worry that if the UPP’s leave, all progress will be lost. The challenge, then, and the focus of this Task Force, is to ensure that the favelas are integrated and supported in a way that preserves the progress that has been made and fosters permanent change. Each of the 11 chapters within this Task Force presents policy recommendations prepared for the Public Security Secretary of Rio de Janeiro José Beltrame, and as such, are tailored to his position and responsibilities. Subjects include reforms within the police force, such as improvements in police training, organization, and working conditions, as well as policies intended to promote integration of the favelas into the formal city, including methods to improve education and access to healthcare, implementing programs to target at-risk youth, and providing economic opportunities for favela residents.

French films about World War II tend to fall into either the category of heritage film, which promotes a narrative of reconciliation in relation to the collaboration, or another group of films that serves to implicitly or explicitly question that narrative of reconciliation. Films of the latter category have probed the memory of the Vichy collaboration since the end of the war despite Charles de Gaulle’s efforts to repress narratives that challenged the idea of a country united against Germany. In the 1980’s, however, heritage film became the prevalent genre and offered a Gaullist view of World War II in France. This thesis asks, why, given the plethora of films dealing with the realities of the French role in World War II dating from the late 1940’s, a rubric of heritage film emerged as one way of classifying filmic discourse on the Vichy collaboration. I hypothesize that the heritage cinema rubric, specifically the Vichy cinema rubric, asserts a legibility of French identity, which was compromised by France’s collaboration with Nazi Germany, and attempts to thwart filmic narratives of identity loss. Through tropes of the uncanny and characters that experience repressed trauma and blocked mourning, films such as Le Silence de la Mer (1949), Lacombe, Lucien (1974), Mr. Klein (1976), and Le Dernier Metro (1980) reflect the French collective experience of loss during and in the aftermath of the collaboration. WWII films produced in the decades leading up to the emergence of this genre in essence dramatize a troubling disappearance of French cultural identity, which the heritage rubric sought to control.