For example, chapter one concerns the excommunication of prelates (cardinals, bishops, nuncios, etc.) by the Pope himself; chapter two covers lesser clerics, chapter four, nuns and chapter six, Inquisitors. Chapter seven deals with secular lords and nobility, while chapter eight discusses various professions, including magistrates, university rectors, governors, and scholars. Chapter ten concerns all those who can be excommunicated by a bishop alone.
In addition, manuscript annotations add interest to this particular copy, attesting perhaps to various canon law interpretations prevalent during this period.
We have found no other copies of this title held by other North American libraries.
Hesburgh Libraries has recently acquired an unusual and extremely rare document in early modern church history, a French-language edition of the bull issued by Pope Paul III to convoke the Council of Trent (1545-1563), La Bulle de nostre sainct Père le Pape Paul troisiesme sur le Concile general qui se celebrera, le quatriesme dimanche de la Caresme prochaine (Lyon, 1544). The Council was originally planned to begin in November 1542, but because of the conflict between King Francis I of France and Charles V, the Holy Roman Emperor, the convocation was delayed. This Council would prove to be a pivotal event in modern church history, essentially launching the Catholic Reformation across a range of important doctrinal issues.
Paul III, whose pontificate spanned the years 1534-1549, also published Latin-language versions in Cologne, Ingolstadt, Magdeburg, Nurnberg, and Rome, while a German edition was issued in Augsburg. In this edition, the bull is preceded by a letter written by the Pope to the Archbishop of Lyon concerning the Council.
We have located only one other copy of this French version among recorded holdings worldwide, in France’s Bibliotheque Nationale.
We join the Library of Congress, National Archives and Records Administration, National Endowment for the Humanities, National Gallery of Art, National Park Service, Smithsonian Institution, and United States Holocaust Memorial Museum in celebrating National Hispanic Heritage Month.
The United Farm Workers, an organization with deep ties to the Mexican American community, came into existence in 1965, under the leadership of labor leader Cesar Chavez. It merged two existing groups of farm workers, one primarily Mexican and one primarily Filipino. Under Cesar Chavez’s leadership, United Farm Workers became a highly influential, multi-racial labor movement. It orchestrated the most successful consumer boycott in American history, against California grape producers, between 1965 and 1970. By allying with national and local unions and building boycott houses in 10 major cities, the UFW effectively shut down the U.S. market for grapes in protest over treatment of farmworkers. In July of 1970, after a final, failed attempt to offload rotting grapes in Europe, twenty-six grape growers capitulated and signed collective bargaining agreements with the UFW, a major victory for the country’s farm workers.
This post highlights some of Rare Books and Special Collections’ ephemeral material related to the history of the United Farm Workers organization, a beacon of Chicano strength and power.
Andrew Zermeño, a graphic artist who created a number of political cartoons for United Farm Workers, produced this large bilingual poster in 1968. It connects the president-elect, Richard Nixon, to the abusive practices of California grape growers and warns that if “La Raza,” or the Mexican American population, doesn’t stop Nixon, he will stomp, or crush, them.
Portrayed in a grotesque fashion, Nixon waves his characteristic “V” for victory sign and greedily devours grapes. A grape grower is literally in Nixon’s pocket and farmworkers are crushed under his stomping feet. Small signs in Spanish and English refer to the boycott. A man representing La Raza lies inert in a pool of grape juice at the bottom of the poster.
In 1969, the Scholastic, the University of Notre Dame’s student magazine, recognized the grape boycott. Its editors published the striking emblem of the Delano strike on the cover of the November 7 issue. Inside, the first of two articles on the farmworkers’ actions, authored by Steve Novak, describes the formation of the UFW and the history of the grape boycott. Novak observes that, “the Delano strike has done much for the Mexican-American people of the United States,” making them more visible, uniting them, and bringing their struggles to light.
This final item is a modest poster promoting a United Farm Workers benefit held in Madison, Wisconsin, at Freedom House, a small venue. Likely also dating to the era of the grape boycott, the poster features the strike emblem and a group of three protestors, one with arm raised and one wearing a farm worker’s hat.
Together, these items reflect the national impact of the Delano grape strike. It spawned protest posters by Mexican American artists like Zermeño, merited a place on the cover of university student magazine in South Bend, Indiana, and prompted organization of a benefit in Madison, Wisconsin. The impact of this event was widespread and impressive, and it is an important part of the legacy of the U.S.’s Mexican American population.
Hesburgh Libraries has recently acquired a fascinating and important early modern work on the story of St. Ursula, a fourth-century British princess who tradition relates was martyred along with her 11,000 female followers by the Huns while on a pilgrimage to Rome. Vita et Martyrium S. Ursulae et Sociarum Undecim Millium Virginum etc. (Coloniae Agrippinae, 1647) by the Jesuit Hermann Crombach is an extensive defense of the legend’s historical veracity, as well as a detailed attempt to identify as many of her virgin companions as possible.
There was a resurgence of St. Ursula’s cult in the seventeenth century that witnessed the publication of a number of titles related to her; this tome “provides the most encyclopedic hagiographic coverage of the cult ever published.” ( Cartwright, The cult of St Ursula and the 11,000 virgins, 2016, p.21-22). This renewal of interest in the saint should probably be seen through the lens of the Catholic Reformation, in which detailed investigations into the authenticity of relics, saints’ legends, etc. were held up as proofs of the church’s reliability in transmitting her traditions.
Crombach’s exhaustive approach even included an attempt to identify as many of Ursula’s companions as possible and the inclusion of three finely engraved maps attempting to trace the route of the retinue from southwest England to Rome, before they turned north and were martyred in the defense of Cologne—besieged at the time by the Huns.
We have identified only five North American library holdings of this work.
Special Collections recently acquired two World War II era photo albums featuring original photographs from within and outside of the Warsaw Ghetto’s walls.
Although the albums lack dates and inscriptions, they probably belonged to а German soldier who visited Warsaw sometime after the establishment of the Ghetto in November 1940 and before the Warsaw Ghetto uprising in April 1943. At the height of its existence in 1941, the Warsaw Ghetto included more than 500,000 Jews from Warsaw and surrounding towns. They lived in subhuman conditions in a small area segregated from the rest of the city by wire and brick walls. Fueled by years of massive Nazi propaganda, the occupied Warsaw was a popular destination for Wehrmacht soldiers who came here to see for themselves the “authentic” East European Jews and their culture.
The first album presents a broad spectrum of people and activities taking place inside the Ghetto walls. It comprises twenty-four photographs probably taken during a single day as the photographer strolled through the streets documenting his encounters with the doomed inhabitants. The images vary from close up portraits of people directly facing the camera to more general depictions of the busy street life, misery, and suffering.
The photographer captured “typical Jewish” men with long beards wearing traditional attire, women with strollers in the park, rickshaws used for transporting people and goods, crowded marketplaces with inhabitants trying to make a living by selling potatoes, warm water, and the obligatory Star of David armbands, uprooted families arriving to the Ghetto from nearby towns, homeless children begging for food, and people collapsing and dying on the sidewalks from hunger and diseases.
The second album presents forty-seven photographs depicting mostly street views and buildings on the “Aryan” side of Warsaw, including images of the Ghetto wall (Ulica Graniczna), views of the Old town with its charming narrow streets and alleys, palaces with Nazi flags and German soldiers, and historical monuments, many of which were later destroyed. This album also contains several aerial views of the soon to be destroyed city and bridges over the Vistula river.
Taken by a perpetrator, these photographs serve as important historical evidence of the Holocaust and Nazi atrocities in Poland.
Cochlaeus (1479-1552) was one of the most prolific and rhetorically ferocious Catholic critics of the early Protestant Reformation and in this work attempts to refute one of Luther’s published sermons on the Mass, accusing him of being a “new Hussite” and likening him to the Bohemian reformer Jan Hus, who was burned at the stake in 1452. Cochlaeus repeatedly stressed Luther’s preference for Hussite teachings on the Eucharist over those embraced by the Church and assailed him for breaking down religious law, true penance, and the authority of any institution to determine proper religious belief and practice. In particular, the author attacks Luther’s denial of transubstantiation—the doctrine that the bread and wine are transformed into the flesh and blood of Christ during the act of consecration—and the latter’s substitution of “consubstantiation”, the view that the substance of the bread and wine coexists with the body and blood of Christ in the Eucharist.
“Ultimately, Cochlaeus juxtaposed Luther’s preference for ‘your bread of Hus’ to the Church’s ‘body of Christ,’ a contrast that echoed Cochlaeus’ earlier accusations of Luther’s idolatrous veneration for Jan Hus and further showed Luther to be resistant to all forms of legitimate ecclesiastical authority.” (Haberkern, Patron Saint and Prophet, p. 228-9).
We have found only one other North American holding of this edition.
The first chapter, the “Basics” or the “Foundations” (基礎篇), describes in detail how, in 1941, the Japanese Navy prepared its preemptive strikes against the United States and the Pacific colonies of the former British Empire.
On the chapter title page is the seamen’s weekly schedule. “Training” is planned for every day of the week; There is neither Saturday nor Sunday, but two Mondays and two Fridays.
Monday: training (訓練) Monday: training (訓練) Tuesday: training (訓練) Wednesday: training (訓練) Thursday: training (訓練) Friday: training (訓練) Friday: intensive training (猛訓練)
The photos in this chapter show the sailors performing daily military tasks, exercising, dining, etc. They also highlight the battleships, military planes, and weapons.
The second chapter, the “Outcome of the War” (戦果篇), presents a panorama of images of Hawaii, Malaya, New Guinea, and other targets in Southeast Asia, shortly after bombing by the Japanese planes. The photos were not intended to be realistic or artistic. Nor do they appear to attempt to “entertain” or “thrill” their audience, as today’s “war pornography” does. Seen from the distant sky, the smoke shrouds the ongoing destruction below.
For the Japanese at the time, these images likely evoked a sense of pride and superiority, and promoted a worship of the Navy, its weapons and machines, and especially of the provider of those weapons: the emperor. These images were meant to “promote unity, suppress individuality, defend hierarchy, and still dissent.” (See “Revolution by Redefinition: Japan’s War without Pictures,” by Julia Adeney Thomas, inVisualizing Fascism.)
In the preface, there are various references to “sound”:
“Breaking the thirty-years’ silence, early in the morning of the eighth day, the Japanese Imperial Navy briskly woke up and raided Pearl Harbor of Hawaii…”
“The spirits of the Japanese Imperial Navy, reinforced by iron-like silence and bloody training, were released, and finally shed a brilliant light above the world.”
“The photos included in this book respond to the emotional cheers (voices) of 100 million Japanese citizens.”
Any questions about the thirteenth-century French artist and architect Villard de Honnecourt and his work must be answered by the one portfolio of sketches and notes he left behind, or not at all: it is the only known example of his work. The original manuscript of the portfolio, which contains more than two hundred drawings on thirty-three leaves of parchment, was produced sometime between 1220-1240. Although almost all of the notes and drawings appear to have been made by the author, a few have been added or altered by subsequent owners. It came to the library at the Benedictine Abbey of St. Germain-des-Prés at the beginning of the eighteenth century, surviving a fire there. At the end of 1795 or beginning of 1796, it was taken to the Bibliothèque imperiale (now the Bibliothèque Nationale de France) in Paris, and there it remains under the shelfmark Ms Fr. 19093, entitled Album dessins et croquis (Album of drawings and sketches). 1
The Hesburgh Libraries recently acquired an original-format facsimile of this medieval treasure, published in 2018 under the title Cuaderno de Bocetos de Villard de Honnecourt de la Biblioteca Nacional de Francia, Ms Fr 19093, by Siloé Arte y Bibliofilia in Burgos, Spain (with an additional commentary volume forthcoming). Several other print facsimiles of this interesting collection of drawings have been made before, but none manage to show the original context of the drawings and artist’s notes in the same way that the original-format facsimile does. Because they provide real context, including the size, feel, and content of the ancient and medieval books that they copy, original-format facsimiles open the contents of books, book production, and intellectual history—the treasures of our past—to students in a new way.
This facsimile is no exception in terms of offering us a glimpse into the world and thoughts of an itinerant artist. The notes within the portfolio, written in the Picardy dialect of Old French, tell us that he has traveled extensively; the included drawings indicate his interest in a wide variety of subjects, from extremely detailed gothic church architectural elements to mechanical plans, from stylized depictions of the Crucifixion to images of humans in a variety of naturalistic poses, animals, and insects, some with geometric underlay as part of their form. The way that they are put together also gives us an understanding of the life of the owner: the portfolio is made up of parchment leaves gathered from multiple sources of differing quality and sizes, sewn loosely together and bound in “a pigskin folder… a suitable size for slipping into one’s garments when traveling on horseback.” 2
For more on Villard de Honnecourt and his work, see:
1. Barnes, Carl F. Jr. and the Bibliothèque Nationale de France, The Portfolio of Villard de Honnecourt: a New Critical Edition and Color Facsimile (Paris, Bibliothèque Nationale de France, MS Fr 19093) with a Glossary by Stacey L. Hahn (Burlington, VT: Ashgate, 2009), 3.
Although Puerto Rico’s current two-party system might seem familiar to those interested in the American political landscape, Puerto Rican political parties are not necessarily defined by fiscal and/or social liberalism or conservatism, but instead by their views on the future political status of the archipelago. The two main political parties are the New Progressive Party (PNP), which seeks Puerto Rico’s full annexation into the Union as its 51st state, and the Popular Democratic Party (PPD), a party which designed and implemented the current political system of the Estado Libre Asociado (loosely translated as “Commonwealth,” but literally translated as “Free Associated State”).
Rare Books and Special Collections’ Puerto Rican holdings include 27 issues of the periodical Prensa Literaria: Revista de Cultura. Dating from 1963 to 1966, this magazine highlights key debates and tensions in the development of Puerto Rican politics and identity following the new Constitución del Estado Libre Asociado de Puerto Rico, ratified in 1952.
WHO ARE WE? WHERE ARE WE GOING?
Prensa Literaria was edited by major literary and political figures in Puerto Rico, many of whom were affiliated with the PPD.
The PPD was a pivotal player in the postwar transformation of Puerto Rico. The party’s leader, Luis Muñoz Marín, was dubbed the architect of a new Puerto Rico and became the first democratically-elected governor of the archipelago in 1948, a role he held for 16 years. His political magnum opus was Operación Manos a la Obra (Operation Bootstrap), a massive industrialization political programme that began in 1947 and would transform the Puerto Rican economy, society, and political landscape in the years to come. For the average working-class poor, weekly wages more than doubled, life expectancy rose from 46 to 69 years, and basic living standards and infrastructure would vastly improve for all Puerto Ricans between 1953 and 1963 (see Ayala & Bernabe, 2007). Yet many of the PPD’s projects also depended on manufacturing incentives for US-based corporations, which dramatically reshaped the economy of the territory and broader Caribbean, detrimentally limiting economic and political self-sufficiency to the region.
The whirlwind of change and industrialization that characterized the 1950s on the archipelago created what many scholars have identified as a collective existential crisis of sorts. This is reflected in an editorial by Ernesto Juan Fonfrías that appears in the September 1965 issue of Prensa Literaria, entitled, Who/what are we? Where are we headed? Fonfrías, a scholar, writer, and one of the founding members of the PPD, muses,
Many aspects of Puerto Rican life have not yet acclimated to the momentum of progress that has come to provide its benefits, almost all of a sudden but in times of crisis, because it met an unprepared average citizen, orphaned from moral, educational, and religious values, which are necessary to any civilized man’s wellbeing […] The result of economic progress has impaired the individual’s moral capacity to be and feel.
Muchos renglones de la vida puertorriqueña no se han atemperado al impulso de progreso que vino a regar sus parabienes, casi súbitamente pero en momentos de apuros, porque encontró al ciudadano promedio impreparado [sic], huérfano de muchos de los valores morales, educativos, y religiosos que son necesarios en el haber de todo hombre civilizado […] El producto del progreso económico ha dañado la capacidad moral del individuo para ese alto estar y sentir.
THE JÍBARO IS GONE, AND THE LAND IS UP FOR SALE
In his front-page editorial “El jíbaro se acaba y la tierra se vende” (“The jíbaro [rural peasant] is gone and the land is up for sale”) in the May 1966 issue of Prensa Literaria, Fonfrías further examines Puerto Rican identity during an era of change.
Perhaps the jíbaro is disappearing from the countryside, but his mark on history will remain, his criollo lifestyle, his cultural heritage and his milestone in civilization, which shall never be forgotten […] Who knows? Maybe the more civilized we become, the more jíbaro we become in our love for the land! […] Progress is good and so is the jíbaro.
Tal vez el jíbaro desaparezca de la ruralía, pero quedará su quehacer histórico, su criollo vivir, su acervo de cultura y su hito de civilización que no se olvidarán […] Quién sabe si mientras más civilizados, seguimos siendo más jībaros en el amor a la tierra! […] El progreso es bueno y el jíbaro lo es también.
Fonfrías takes on the very ideal of cultural nationalism—the jíbaro—in this passage. Through his seemingly benign, yet arguably patronizing discussion, he approaches the quandary (paradox, for some) that stood at the very core of the PPD ideology: ¿y no podrá haber progreso y jíbaro también? (“could there not be both progress and jíbaros, as well?”)
As in the previous issue, we see Fonfrías struggling to reconcile economic changes (“progress”) and industrialization with social and cultural realities and ideals. These debates intersected with conversations regarding the archipelago’s political status. In its early days, even under Muñoz Marín, the PPD supported independence, but this stance slowly and quietly eroded. Prensa Literaria best captures the centrist positioning of the political status quo that emerged as a result of the PPD’s political evolution, still in effect to this day.
Agrait Betancourt, Luis. “La idea independentista de Luis Muñoz Marín (1913-1931).” In Luis Muñoz Marín: ensayos del centenario. Edited by Fernando Picó, 1-15. San Juan: Fundación Luis Muñoz Marín, 1999.
Ayala, Cesar y Rafael Bernabe. Puerto Rico in the American Century: A History since 1898. Chapel Hill: The University of North Carolina Press, 2007.
Cortés Zavala, María Teresa y María Magdalena Flores Padilla. “La Revista Puertorriqueña: el periodismo cultural y sus redes hispanoamericanas.” Revista de Indias 75, no. 263 (2015): 149-76.
Díaz Quiñones, Arcadio. El arte de bregar: ensayos. San Juan: Ediciones Callejón, 2000.
Duprey Salgado, Néstor R. Independentista popular: las causas de Vicente Géigel Polanco. San Juan: Crónicas Publicaciones, 2005.
Grosfoguel, Ramón, Frances Negrón-Muntaner, and Chloé S. Georas. “Beyond Nationalist and Colonialist Discourses: The Jaiba Politics of the Puerto Rican Ethno-Nation.” In Puerto Rican Jam: Rethinking Colonialism and Nationalism, pp. 1-38. Edited by Frances Negrón-Muntaner & Ramón Grosfoguel. Minneapolis & London: University of Minnesota Press, 1997.
Pantojas-García, Emilio. “Puerto Rican Populism Revisited: the PPD during the 1940s.” Journal of Latin American Studies 21, no. 3 (1989): 521-557.
Serra Collazo, Soraya. “Explorando la Operación Serenidad.” In Explorando la Operación Serenidad, pp. 7-10. Edited by Soraya Serra Collazo. San Juan: Fundación Luis Muñoz Marín, 2011.
It reeks to always walk with tense shoulders, shoved upwards A knife hidden under my tongue Rear wheel mirrors
— Karla Cristina Sobre el hombre y otros sistemas de colapso (La Impresora, 2020)
In this blog post, we showcase a collection of zines, chapbooks, and posters published by the independent, women-led Puerto Rican press La Impresora(“the printer,” in Spanish). This collection is one of the most recent acquisitions to augment Rare Books and Special Collections’ holdings of Hispanic Caribbean literature.
La Impresora is an experimental workshop headquartered in northwestern Puerto Rico. It is a small-scale risograph press, which combines the aesthetic and uniqueness of stencil and screen-printing with the expediency and convenience of digital copiers. Sincethe inception of risograph technology in 1940s Japan, this technology has allowed artists around the world to conveniently and inexpensively reproduce and disseminate their creations. In addition, La Impresora seeks to be more than just a printing press: as part of its vision, creators and artists are actively involved in the reproduction of their art in what the press’ founders call a book-making school, “a space to learn and share knowledge that is not formally taught in Puerto Rico, which is usually mediated or limited by the supply and demand of the publishing market.”
The selection currently held by Rare Books and Special Collections is composed of 62 items, a polyphonic kaleidoscope of form and lived experience. Much of this work captures—textually and visually—the lingering stasis that haunts a generation of Puerto Ricans. To differing degrees, the archipelago’s youth have experienced systems of limbo, collapse, and crisis. These predicaments arise from socio-natural disasters (and postponed recoveries), neocolonialism, corrupt and impotent local government, and crippling (largely illegal) public debt. The pieces created by this collective comment on and represent both the everyday and large-scale manifestations of the Puerto Rican crisis.
In addition to the pamphlet-sized zines and chapbooks, the collection includes a limited run of eight posters (11 x 17″) published by the collective, the majority of which were the result of a collaboration between the press and female Puerto Rican artists between 2019 and 2021.
Some of the posters are the result of historical processes in the history of gender rights and relations in Puerto Rico. In “HISTÉRICA,” illustrator Adriana García centers the gendered attribute of “hysterical” in a minimally-illustrated piece. Written in red letters across a drawing grid, she embraces the gendered epithet and proclaims, in smaller, black font, to hysterically await a moment in which women “can live peacefully.” In slightly larger uppercase letters, she echoes contemporary demands for gender-perspective school curricula, an ongoing debate since at least 2008, split along partisan lines in the archipelago.
Part of the 2019 art exhibition “Oda a nuestra sangre” (trans. “ode to our blood”) held in San Juan, Puerto Rico, Lorraine Rodríguez’s print hopes to challenge societal taboos surrounding menstruation. In her piece, Rodríguez centers a minimally drawn menstrual cup, surrounded by blooming dandelions, a moon, and stars. In this landscape, menstruation is as natural as the blooms and celestial bodies that surround it. Moreover, the print seeks to desexualize and normalize female anatomy.
With the exception of Rodríguez’s piece (printed in 2019), the collection posters highlighted in this post were produced and distributed by La Impresora in 2021. This is far from a coincidence, as the year 2021 saw a record-breaking number of femicides and incidents of gender-based violence in Puerto Rico, averaging one a week. The American Civil Liberties Union (ACLU) reports that Puerto Rico has the highest per capita rate of femicides against women over 14 years of age. These statistics include high-profile cases such as the murder of Keishla Rodríguez by rising boxer Felix Verdejo. In a way, many of the artworks in this collection emerge from the 2021 protests that demanded the enactment of a state of emergency by Governor Pedro Pierluisi in response to gender-based violence. Initially set to expire in June 2022, this state of emergency was recently extended: to this date, 24 women have been murdered in Puerto Rico, three times the number of 2021.
Echoing these demands, photographer Nina Méndez Martí highlights the black-and-white photograph of a woman’s torso. Hands in the air, the words “ESTADO DE EMERGENCIA” (trans. “State of emergency”) are emblazoned across her chest and abdomen in bold, black, uppercase letters.
Lastly, Yvonne Santiago’s “Seguimos luchando,” depicts a woman drawn in purple lines, her right fist raised in the air. The color purple has a long and important history in feminist activism, from its association to women’s suffrage to Alice Walker’s famous analogy, “womanism is to feminism as purple is to lavender.” The woman depicted by Santiago has two tattoos: a pot (cacerola) with a cooking spoon on her tricep and a machete on her forearm. Both the cacerola and the machete are important symbols of resistance, especially in Puerto Rico.
The pot refers to the cacerolazo, a protest tradition which consists of banging pots cacophonously as a way of amplifying anger and dissatisfaction amid protests. In Puerto Rico, cacerolazos became a popular protest form during the Verano del 2019 protests, which called for the resignation of former governor Ricardo Rosselló.
The machete symbolizes pro-independence struggle and political nationalism on the island, most commonly associated with 20th-century armed pro-independence militancy, primarily with the Boricua Popular Army, known as Los Macheteros (trans. “Machete wielders”), and the Armed Forces of National Liberation (FALN). However, the machete, as a political symbol, dates to the original Revolutionary Anthem of Puerto Rico, written in 1868 by Lola Rodríguez de Tió. The hymn’s lyrics were deemed too controversial and revolutionary and were subsequently changed for a less political version in 1902.
Nosotros queremos la libertad Y nuestros machetes nos la dará
We want Freedom And freedom, our machetes will grant us
Yvonne Santiago’s piece chants its own hymn of subversion and defiance, lest we forget.
For the women in my life For the ones I have lost For the ones to come We will keep fighting
Elithet Silva-Martinez & Jenice Vazquez Pagán, “El abuso económico y la violencia de género en las relaciones de pareja en el contexto puertorriqueño,” Prospectiva, 28 (2019): https://doi.org/10.25100/prts.v0i28.7264