Make Some Noise

THERE ARE NO LONGER any whispers, shushes or hushed tones on the main floor of the MacPháidín Library. Updates to the first floor encourage students to collaborate and de-stress as they research and study.

“Space changes can influence what happens in that space,”
—Library Director Cheryl McGrath on the MacPháidín Library’s transformation to meet student needs.

Volume Control

While the first floor is considered the noisy floor, there are still plenty of quiet—even silent—spaces in the Library for students who prefer a more traditional study environment.

Thanks to volume signs that graphic design and studio arts major Burke Oppenheim ’14 created when he interned with Stonehill’s Marketing Department, students know which floor meets their study need.

  • First Floor: Noisy, Collaborative
  • Second Floor: Quiet, Low-Volume Discussions
  • Third Floor: Silent (except in the Center for Writing and Academic Achievement)

Going Up

The first floor isn’t the only space to undergo updates. The second and third floors, the quieter spaces, each have some highlights as well. The second floor now boasts a Special Collections Area that provides a poetry collection and more primary source and rare materials for faculty and student research. The third floor houses the Center for Writing and Academic Achievement that is highly accessible for students.

A MacPháidín Welcome

Students look forward to seeing the bronze bust of the Library’s namesake, the late President Bartley MacPháidín, C.S.C. ’59, as they enter the building. Each season, he is adorned with a different hat.

As more resources have moved from bookshelves to online, the MacPháidín Library has restructured its space to address the ways that today’s student uses the Library.

A Summer with Blok

YOU MIGHT NOT THINK that poring over the work of Russian Poet Alexander Blok (right) is a perfect way to spend long summer days. But it certainly was for John Golden, associate professor of languages, literatures and cultures, and Alina Shklyarenko ’17, a psychology and French/German major.

During their Summer Undergraduate Research Experience (SURE) project, the two translated from Russian into English a part of Blok’s monumental poem Vozmezdie "Retribution," written between 1910 and 1921.

“Our hope is to supplement the partial translation by Sir Cecil Kisch, published in 1960, by translating and publishing the sections Kisch omitted,” says Golden, who became interested in Blok when he stumbled upon him during an honors capstone course he taught years ago.

“When I read Blok, he reminded me very much of my all-time favorite poet, the French symbolist Charles Baudelaire,” recalls Golden. “I read some more about Blok and discovered that his "Retribution" had been only partially translated into English.”

For Shklyarenko, who is originally from the Ukraine and moved to the United States when she was 8, the project was an ideal fit—she had had a lot of exposure to Russian poetry throughout her childhood and adolescence. “I spent the first month learning about Blok’s biography, symbolism, translation theory and the literary choices a translator makes. Then, I finally started to translate snippets of "Retribution,'" she says ofher SURE project.

The most challenging part of the project, Shklyarenko notes, was deciding where to place emphasis: rhyme, rhythm, connotation. “Blok’s poetry is unique in its beautiful rhythm and rhyme. I believe it’s important to mimic that in the English translation as closely as possible.”