Division of Arts and Humanities

CU prof fighting to keep Latin classes alive through video storytelling

Rachel Sauer — Tue, 01 Apr 2025 15:51:17 +0000

CU prof fighting to keep Latin classes alive through video storytelling Rachel Sauer Tue, 04/01/2025 - 09:51

Cody DeBos

For Reina Callier, learning Latin ‘is like lifting weights for your brain’

When a student in one of Reina Callier’s Latin classes said, “I came for the language, I stayed for the vibes,” she laughed, but the phrase stuck with her.

It captured something essential about Latin classrooms. Beyond conjugations and declensions, they offer students a haven for community, curiosity and a shared passion for the ancient world.

In recent years, though, that community has been shrinking.

Reina Callier, a CU ��Vlog�ƽ�� teaching assistant professor of classics, notes that “Latin survives because people love it. And as long as we keep sharing that love, it’s not going anywhere.”

“Enrollment in Latin classes, especially at the secondary level, has largely been declining,” Callier explains. “During COVID, Latin classes were seen as non-essential, so they lost a lot of students. And they’ve been having a hard time bringing the numbers back up.”

For Callier, a teaching assistant professor of classics and the Latin Program Coordinator at the ��Vlog�ƽ��, this trend is more than an academic concern.

She wasn’t alone in her worries. In response to falling enrollment rates, the Colorado Classics Association (CCA) formed a committee dedicated to promoting interest in Latin classes.

The solution? A project that would convey the benefits of learning Latin to students in their own words.

A language in decline

Across the country, Latin programs have struggled to justify their existence in an education system increasingly focused on STEM fields and workforce development. In some districts, administrators have proposed cutting Latin entirely, forcing teachers and students to fight for their programs.

In collaboration with the CCA and local high school educators, Callier helped spearhead You Belong in Latin, a video project designed to remind high school students why Latin is worth learning.

“We finally came up with the idea for a video, because it’s something you can share easily. It’s more entertaining than just looking at a brochure that says, ‘Here’s why Latin is a good thing to take,’” Callier says.

The project quickly took shape as teachers across Colorado filmed interviews with their students, capturing firsthand accounts of what Latin means to them. They also collected footage of classrooms filled with laughter, animated discussions and moments of discovery.

“One of the things we noticed is that once students get into Latin class, they really love it,” Callier says. “You just have to get them in the door.”

The team secured a grant to bring the project to life, which allowed them to hire a former CU ��Vlog�ƽ�� student who majored in film—and took several semesters of Latin with Callier—to professionally edit the videos.

Over the course of a year, the raw footage was transformed into a compelling series of short videos, each emphasizing a unique aspect of the Latin classroom experience.

Now available on YouTube, the You Belong in Latin videos are a vital resource for teachers, students and parents to share.

Latin is for everyone

A central theme of You Belong in Latin is the tight-knit community formed in Latin classrooms. Unlike more popular language programs, Latin classes tend to be small, allowing students to form deeper relationships with their peers and instructors.

“At CU ��Vlog�ƽ��, if you take Latin, aside from the first semester where there are two sections of Latin I, after that, everybody’s in the same class together,” Callier explains. “You continue to see the same instructors in the department as well. So you get to know them, and you get to know your peers in a way that’s not really very common at the college level.”

The same holds true in high schools, where Latin students often stay in one cohort across multiple years and gain a sense of unity and belonging.

The videos also seek to challenge the misconception that Latin is elitist—a subject reserved for Ivy League prep schools and aspiring academics.

“Latin actually isn’t elitist. Everybody’s starting from the same level when they walk into Latin class. There’s no barrier, and everybody can benefit from it in various ways,” Callier says.

And while Latin’s reputation as a “dead language” often turns students away, Callier argues that its benefits are very much alive. Latin gives students a foundation for English vocabulary, enhances their analytical skills and prepares them for careers in law, medicine and the sciences, she says, adding that it also provides direct access to Latin texts, “which is immensely beneficial to anyone who is enthusiastic about Roman literature or history.

“Latin actually isn’t elitist. Everybody’s starting from the same level when they walk into Latin class. There’s no barrier, and everybody can benefit from it in various ways.”

“Learning Latin is like weightlifting for your brain,” she says with a smile.

Keeping the momentum going

Now that the You Belong in Latin videos have been published, Callier is working to spread the word.

“We have been sharing our Colorado Classics Association YouTube channel with educators from around the country who are looking for different ways to promote Latin,” she says.

Feedback on the project has been encouraging for Latin educators who rarely receive recognition for their efforts.

“What we are doing as Latin educators is something that is really having an impact,” Callier says. “Students are getting a lot out of Latin in various ways, and they’re really appreciating what we bring to the table.”

At its heart, this project isn’t just about keeping Latin alive but also celebrating what makes it special. As Callier and her colleagues know, the language is only the beginning. The real magic comes from the people who learn and teach it.

Callier says, “Latin survives because people love it. And as long as we keep sharing that love, it’s not going anywhere.”

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For Reina Callier, learning Latin ‘is like lifting weights for your brain.'

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Patty Limerick and George Orwell merge to celebrate anniversaries

Rachel Sauer — Tue, 18 Mar 2025 15:17:07 +0000

Patty Limerick and George Orwell merge to celebrate anniversaries Rachel Sauer Tue, 03/18/2025 - 09:17

Daniel Long

The historian loaned her voice to the author in the summer of 2024 to commemorate her 40th year in ��Vlog�ƽ�� and the 75th anniversary of 1984

It was a hot summer evening in June of 2024, in a barn on the east side of ��Vlog�ƽ��, Colorado. On a low stage blanketed with a small, thin rug, two empty chairs sat facing each other, and between them, tall and menacing against the black backdrop, stood a red banner with “1984” written on it.

A large gray eye gazed out upon the audience from the center of that banner, lidless and all-seeing, an icon of surveillance.

Big Brother, it seemed, was watching, and he likely disapproved of what he saw.

CU ��Vlog�ƽ�� Professor Patty Limerick embodied 1984 author George Orwell in several public conversation, guided by the belief that “historians are people who try to reactivate the voices of the departed.”

His creator and harshest critic, George Orwell (born Eric Arthur Blair), had returned from the dead to discuss his life and work nearly 75 years after succumbing to tuberculosis at the age of 46 on Jan. 21, 1950, seven months following the publication of his most famous novel, 1984, the nightmare-vision that gave the world Room 101, memory holes, Newspeak and doublethink.

It would be the first of two public conversations he’d have over the summer, this one with TV show host Aaron Harber and the second with scholar, author and educator Clay Jenkinson.

Harber took the stage and faced the humble gathering of spectators. “I would like to introduce to you George Orwell,” he said.

Applause mounted in the sweltering barn as the author of Animal Farm, Road to Wigan Pier and numerous essays ambled down the aisle dividing the crowd and stepped up to meet Harber, dressed sharply but unseasonably in a jacket, trousers, tie and hat . . .

. . . and bearing a remarkable resemblance to ��Vlog�ƽ�� history professor Patty Limerick.

Why channel Orwell?

“Tragedy . . . belonged to the ancient time, to a time when there was still privacy, love, and friendship, and when the members of a family stood by one another without needing to know the reason.”
—George Orwell, 1984

The year 2024 marked Limerick’s 40th in ��Vlog�ƽ��, which is another way of saying she moved there in 1984. She wanted to celebrate, but how?

“Then I thought, ‘Yes, 1984—when was that published?’ I thought I knew, but I didn't. And when I checked, it was the 75th anniversary.”

This convergence of round numbers gave Limerick an idea: Maybe she could observe both anniversaries together, with the same event, as only a historian would.

Her initial thought was to ask her friend Jenkinson to don Orwell’s persona while she interviewed him. Having impersonated many historical figures—Thomas Jefferson, Theodore Roosevelt and J. Robert Oppenheimer, among others—for a variety of audiences, including Supreme Court justices and U.S. Congress, he seemed the natural choice.

But Jenkinson didn’t have sufficient time to prepare for the role, which left Limerick wondering: Could she do the impersonation herself?

She’d impersonated President Richard Nixon in her American History survey course several years prior, thinking this would prove more engaging than her usual lecture on the man. “The lecture on Richard Nixon was so useless because I, as a person of my age group, have a lot of feelings about Nixon,” Limerick says. “The lecture would be quite interesting if you were curious about my feelings about Nixon, but if you thought you might want to learn about Richard Nixon, you came to the wrong place.”

Even without the standard accoutrements—makeup, clothing, five o’clock shadow—Limerick’s impersonation of the 37th president did the trick, she says. Her students asked thoughtful questions, and she got the chance to put some flesh and sinew on the bones of her Nixonian knowledge.

“I certainly conveyed some moments in which Nixon was insufferably full of questionable convictions, but I also . . . conveyed his accomplishments,” such as “the lessening of tensions with China and the signing of crucial environmental laws,” she recalls. “I feel I got it right.”

So, why not impersonate Orwell? Why not lend him her voice as she had Nixon?

Why not indeed. After all, Limerick says, “historians are people who try to reactivate the voices of the departed.”

Guaranteed tyranny

“Don’t you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it.”
—George Orwell, 1984

One of 1984’s most famous innovations is Newspeak, a language Orwell constructed to represent the nation-state of Oceania’s drive to control not just its citizens’ behavior but also what went on in their heads.

Patty Limerick (left), a CU ��Vlog�ƽ�� historian, embodied George Orwell during a televised conversation with Aaron Harber. (Screen grab: PBS)

“The purpose of Newspeak was not only to provide a medium of expression for the world-view and mental habits proper to the devotees of Ingsoc (English socialism), but to make all other modes of thought impossible,” Orwell says in his appendix to 1984, “The Principles of Newspeak.”

“It was intended that when Newspeak had been adopted once and for all and Oldspeak forgotten, a heretical thought—that is, a thought diverging from the principles of Ingsoc—should be literally unthinkable, at least so far as thought is dependent on words.”

“Newspeak,” says Limerick, “is the foundation of guaranteed tyranny. You don’t let people have the words that they need. What became of justice? What became of freedom? What became of honor? They can’t ask those questions if they don’t have those words. People can’t resist if they don’t have the word ‘resist.’”

Orwell held strong views about the relationship between word and thought. He famously criticized nebulous prose in his essay “Politics and the English Language” by arguing that fuzzy writing both emerges from and leads to fuzzy thinking.

Decades later, not fully realizing her indebtedness to Orwell, Limerick made a similar case in her essay “Dancing with Professors,” though she approached the issue from an educational rather than a political angle. Yet both agreed that the stakes of clarity are high: freedom of thought for Orwell, the legitimacy and survival of academia for Limerick.

But what about some of the words that appear in the media these days—words like “mistruths” in place of “lies”? Would Orwell consider these examples of Newspeak?

Not necessarily, Limerick argues. For one thing, these words, wooly as they may be, add to the English language, creating new shades of meaning, while Newspeak feeds on subtraction.

“Do you know that Newspeak is the only language in the world whose vocabulary gets smaller every year?” the Newspeak enthusiast Syme asks of 1984’s protagonist, Winston Smith. “Every year fewer and fewer words, and the range of consciousness always a little smaller.”

For another thing, a word like “mistruth,” says Limerick, is often used not by the powerful to maintain their power but by media outlets that are trying to report on falsehoods without using incendiary words like “lie” or “liar.”

“If you're going to call the leader of the United States a liar repeatedly, and his supporters are not gentle and forgiving people, you’re going to spend much of your conscious life wondering how you’re going to cope with the consequences of your having said he’s lying.”

Newspeak does not deal in such subtleties, Limerick believes. Newspeak is where subtlety goes to die.

Two plus two equals five

“You are a slow learner, Winston,” said O’Brien gently.
“How can I help it?” (Winston) blubbered. “How can I help seeing what is in front of my eyes? Two and two are four.”
“Sometimes, Winston. Sometimes they are five. Sometimes they are three. Sometimes they are all of them at once. You must try harder. It is not easy to become sane.”
—George Orwell, 1984

Another of Orwell’s stickier inventions in 1984 is doublethink, or the capacity to believe two logically opposed things at once—things like war is peace, freedom is slavery and ignorance is strength.

“Doublethink is the power of tyrants to say contradictory things and not be held responsible for the disparities,” Limerick explains. “It is really bad, and really dangerous, and really perilous.”

Winston discovers how perilous when he’s interrogated by O’Brien, a character he assumes is a friend but who turns out to be a member of the Thought Police tasked with rooting out thought-criminals. After learning of Winston’s secret opposition to Ingsoc, O’Brien tortures him relentlessly to convert him back into doublethink, arguing that it “is impossible to see reality except by looking through the eyes of the Party.”

Yet Limerick points out that it is important not to mistake the direct contradictions of doublethink in 1984 with the paradoxes of real life.

Take historical figures, for example. The more one learns about them, says Limerick, the more complex they become, to the point that they may force students of history to hold seemingly contradictory thoughts when appraising them.

This happened to Limerick herself with William Stewart, senator of Nevada from 1865-75.

“Environmental activists and historians hold Stewart in contempt because he was the guy who wrote the 1872 mining law, which enshrines the notion that individuals can just go out and make mining claims and owe nothing in the way of revenue to the government,” she says.

Yet Stewart also proved crucial to getting the Fifteenth Amendment passed in 1870, which granted African American men the right to vote—an accomplishment Limerick urges everyone to admire.

Evidence sometimes demands conflicting feelings, Limerick says. Villains can do heroic things, and heroes can do villainous things, including Orwell. The great champion of free thought also expressed complicated, often inconsistent views about women, Jews and Catholicism. He wasn’t perfect, and any estimation that claimed he was would be flat. Posterity can both praise and blame him simultaneously—paradoxical, but true.

But that doesn’t mean two plus two will ever equal five.

Orwell’s lingering relevance

“We are the dead. Our only true life is in the future. We shall take part in it as handfuls of dust and splinters of bone. But how far away that future may be, there is no knowing.”
—George Orwell, 1984

The conversation between Jenkinson and Limerick’s Orwell, organized by the Vail Symposium, took place on Aug. 21, 2024, at the Donovan Pavilion in Vail. That night, the two engaged in an often funny and frequently tetchy back-and-forth about Orwell’s childhood, his views on socialism and his enduring legacy.

“Doublethink is the power of tyrants to say contradictory things and not be held responsible for the disparities. It is really bad, and really dangerous, and really perilous,” argues historian Patty Limerick.

When, about three-quarters of the way through the discussion, Jenkinson revealed he was wearing a 1984 T-shirt, Orwell stared at it, nonplussed, and asked, “My understanding from that shirt is that my name and that book are still recognizable?”

“Universally!” Jenkinson proclaimed. “One of the most recognizable books written in English and certainly one of the most recognizable books of the 20th century. And it has become extremely important again in the last dozen years or so because the world is having a strange flirtation with authoritarianism, and one of the ways that people have coped with this abroad and at home . . . is to go back to your book. And they find solace in it, they find warning in it, they find hope in it, and they find discouragement in it, but it is a key text as people try to sort our way through this extraordinarily difficult time in modern history.”

A long silence followed while Orwell gathered his thoughts.

“I’m having such mixed feelings,” he admitted to Jenkinson. “I hoped that what I wrote about (in 1984) would become mocked, humorous. ‘He thought these terrible things were going to happen. Nothing like that happened! Boy, did he get that wrong!’

“As an author, I am gratified knowing that (1984) went on and on,” he added. “(But) as a human being who welcomed a child (his adopted son Richard Blair) into the world, I’m not anything but shaken to believe that this book is still so relevant.”

Yet Orwell’s distress turned to horror when Jenkinson delivered the worst news of the night: the definition of the word “Orwellian.”

“When we say ‘Orwellian,’” Jenkinson said, “we mean surveillance, torture, discrimination, disappearances, propaganda, lies, permanent war, keeping the class system, keeping down the poor … ‘Orwellian’ is a dystopian word for us meaning a nightmare world.”

Orwell winced at this revelation. “The things I tried to prevent, the things I tried to warn people about, they associate with me?” he railed. “Change that word!”

Jenkinson held out his hands, welcoming Orwell’s ideas. “What would you prefer?”

Orwell offered two alternative definitions: one about intellectual openness and diversity, the other about the necessity of precise language.

But a third definition, one governed not by foreboding or criticism but by a zeal for life and all it contained, can be culled from the beginning of Orwell and Jenkinson’s talk.

“If you think . . . that I wrote 1984 when I knew I was dying, and knew that this would be my last book, and that the grimness of this book comes from the melancholy and despair of a dying man, you have that wrong,” Orwell said. “I lived with a commitment to being alive that never, never faltered.”

Perhaps the only thing comparable to Orwell’s commitment to being alive is Limerick’s commitment to keeping him alive—or, if not him, at least his memory. He won’t be memory-holed on her watch.

“I hate it so much that he died when he did, just a few months after 1984 came out, and that he was so sick and so frail while he was writing it,” she says. “I wanted to do anything I could to provide people today with an interlude where he was speaking.”

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The historian loaned her voice to the author in the summer of 2024 to commemorate her 40th year in ��Vlog�ƽ�� and the 75th anniversary of '1984.'

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Top illustration: Márton Kapoli

CU ��Vlog�ƽ�� religious studies professor says Twelver Shi’ism is open to discourse

Rachel Sauer — Mon, 17 Mar 2025 15:09:22 +0000

CU ��Vlog�ƽ�� religious studies professor says Twelver Shi’ism is open to discourse Rachel Sauer Mon, 03/17/2025 - 09:09

Bradley Worrell

Associate Professor Aun Hasan Ali’s book about Islam’s School of Hillah explores the dynamics and formation of Twelver Shi’ism, arguing that the faith was open to diverse intellectual traditions

Twelver Shi’ism, the largest branch of Shi’ite Islam, tends to be viewed as fundamentally authoritarian, particularly as seen through the lens of the ideology of the Iranian government.

Aun Hasan Ali, associate professor in the ��Vlog�ƽ�� Department of Religious Studies whose area of focus is on Islamic intellectual history, particularly pre-modern Twelver Shi’i traditions, says he believes that modern perceptions of the faith have been colored by the 1979 Iranian Revolution.

“It was an unprecedented moment in a lot of ways, because for the first time in the history of Shi’ism, you had a theory of government where the jurist was the head of the state,” he says. “Traditionally, there was always a kind of separation between those two spheres.”

Aun Hasan Ali, CU ��Vlog�ƽ�� associate professor of religious studies, argues that modern perceptions of Twelver Shi'ism have been colored by the 1979 Iranian Revolution.

As a result, Ali says the idea took root among some in the West and also in the Muslim Sunni tradition that Shi’i clerics were free to make whatever political or religious decisions they pleased, because they were not bound by the history of tradition. However, that’s not an accurate portrayal of how jurists and other followers come to decisions in Twelver Shi’i religious tradition, he adds.

Instead, Ali makes the case that Twelver Shi’ism is better understood as a “discursive tradition,” which, as defined by noted cultural anthropologist Talal Asad, involves researching foundational Islamic texts, such as the Quran and the writings of exemplary historical Shi’i religious figures, for context. Ali says his own definition of discursive tradition is tied less to foundational texts and more to how noted Shi’i religious figures interpreted those texts, as that is how most followers of the faith first engage on religious topics.

“In the same way that someone addressing ethics in contemporary philosophy needs to address (Immanuel) Kant, for instance, I view that as a parameter of the conversation,” he explains. “Similarly, when it comes to Islamic tradition, there are important figures that one needs to address. So, in the simplest terms, a discursive tradition should be thought of as a conversation across time and space among experts.”

In contrast to the idea that scholars make decisions based solely upon their authority, Ali contends that thinking of the Twelver Shi’i faith as a discursive tradition means the faith continually remains open to discussion, debate, mediation and modification.

Ali’s ideas on discursive tradition were shaped in part by his PhD dissertation on the School of Hillah, a center of religious learning that played a major role in preserving and promoting Twelver Shi’i Islamic religious traditions, while also being open to integrating diverse intellectual traditions, during its formative years, from the 12th to 14th centuries. Ali’s revised dissertation was published in 2023 by I.B. Taurus as the book, The School of Hillah and the Formation of Twelver Shi’i Islamic Tradition, which is being translated into Arabic for wider distribution.

Recently, Ali spoke with Colorado Arts and Sciences Magazine about the importance of the School of Hillah in the formation of Twelver Shi’ism and its profound effect on the Shi’i faith today. His answers have been lightly edited and condensed for space considerations.

Question: Why does the School of Hillah take root in what is now southern Iraq?

Ali: Hillah becomes a center of scholarship for two reasons. One is that you have a (regional) Shi’i dynasty come to power that patronizes these scholars. The second reason is that you have the Mongol invasion in the 13th century, which pushes a lot of people looking to escape that devastation southward.

So, you end up with a concentration of scholars who are sought-after in the region. People travel to Hillah from the Levant, from Bahrain and from Iran. They travel there because they were seeking expert education, and the major figures of Hillah were the undisputed experts. (Students) came there to receive that kind of education in the same way that today somebody might come to CU seeking a world-class program in astrophysics. The same thing was happening in Hillah; they came there to learn from these masters.

With the Mongol invasion, sure, there’s devastation, but there are also opportunities. There are trade routes that enrich particular families in the area, and, as we all know, education requires money, so the influx of wealth also becomes a reason why they’re able to offer patronage to those scholars.

In The School of Hillah and the Formation of Twelver Shi’i Islamic Tradition, which is being translated into Arabic for wider distribution, author Aun Hasan Ali explores the School of Hillah, a center of religious learning that played a major role in preserving and promoting Twelver Shi’i Islamic religious traditions.

Question: Is the School of Hillah equivalent to what we would think of today as a university or maybe a seminary?

Ali: Certainly, it’s different in the sense that it’s not primarily organized in brick-and-mortar institutions. It’s more unstructured. Classes took place in the home of an individual, a prominent scholar.

It’s similar in the sense of curriculum. What I mean is that certain texts come to be understood as definitive of a tradition. And that’s part of the reason why Hillah is so important. A lot of the texts that we think of today as being definitive of Shi’i tradition were written in Hillah and continue to be studied today, so we can think of it in terms of there is, not uniformity, but an expectation that anybody who masters this tradition would read these texts. In that sense, it’s similar.

It’s also similar in the sense of structures of authority. Just as someone wishing to put forth a view in, let’s say, American jurisprudence, has to engage particular jurists; similarly, somebody wishing to put forward a view in Shi’i theology has to engage with the views of particular jurists. So, structures of authority can be similar in that way. The idea of a curriculum can be similar in that way, but it’s not organized as a single space in primarily brick-and-mortar institutions.

That was actually one of the points in the book. The organizing principle of the School of Hillah is these large families in which particular types of expertise is concentrated. So, one family may have an expertise in genealogy; another family may have an expertise in philosophy; while another family may have an expertise in law. These large families (in the community) structure the School of Hillah. And, of course, people intermarry between these families, so it becomes a network of intellectuals.

Question: For the students who completed their studies at Hillah, did they generally go on to become clerics and religious scholars?

Ali: If we look at the contemporary Twelver Shi’i tradition, it runs the full gamut. Before you have modern schools, people learn basic numeracy and literacy in religious institutions, which is the same as it was in the West.

Some of those people, after getting basic literacy and numeracy, go on to become merchants or preachers, for example. A smaller group will become teachers within the institution, and then a (small percentage) of those will become the next generation of masters of the tradition. Most people don’t reach that level, because it takes a long time—we’re talking maybe 20 years or more—to be considered competent within that tradition. It’s a very grueling process, and most people leave before they finish the entire process.

Question: Can you talk about how your idea of discursive tradition contrasts with the idea of jurists having the authority to make whatever decisions they want?

Ali: That’s exactly the idea I was pushing back against in the book—this kind of free-for-all idea about authority. That’s not to say authority isn’t important, or that jurists don’t exercise that kind of authority. But again, they do it within the horizons of possibility that are shaped by discursive tradition, as a conversation across space and time.

And yes, there’s a kind of push and pull where a really important figure can push a conversation forward, can expand at the horizons of possibility, but it’s not an arbitrary process. It’s a process that’s linked to the past at the same time that it looks ahead.

Question: Were there any major developments or contributions that came out of the School of Hillah that made a profound impact on Islam today?

Ali: Philosophy becoming integrated into theology is something that we can look to Hillah for, within the Shi’i world. That development takes place earlier within the Sunni world, but in the Shi’i world, Avicenna’s philosophy, or Avicenna’s metaphysics, comes to be integrated into Shi’i theology. In that time period, the integration of mysticism into Shi’ism is also something that happens in Hillah.

"There’s a kind of push and pull where a really important figure can push a conversation forward, can expand at the horizons of possibility, but it’s not an arbitrary process. It’s a process that’s linked to the past at the same time that it looks ahead."

When we think of (Islamic) law, that’s really one of the most important contributions that happens at Hillah, and you see the integration of advanced mathematics and advanced science into law. For example, in Islamic law, figuring out the direction of prayer from a distance, given the curvature of the earth is also a complicated thing, which leads to advanced discussions of science and mathematics integrated into the chapter on ritual prayer, for instance. Those would be a few examples.

At Hillah, you also have the production of these kinds of biographical dictionaries. So, when Muslims evaluate a piece of information, part of the way they evaluate it is by looking at who communicated that information. You can imagine that it would be very useful to have a kind of a biographical dictionary, where you could look up a particular individual and see what they were like. Were they known to be somebody who had scholarly expertise? Were they known to be somebody who was an upright person? Or were they known to be unscrupulous in the way that they narrated information? These kinds of biographical dictionaries, which facilitate legal discussions and conversations, were produced at Hillah.

Question: Despite the School of Hillah’s contributions to Islamic thought, you say there is not much scholarship about it. Why do you think that is?

Ali: I believe a lot of it has to do with the history of Islamic studies in the West—and that only in recent years has Shi’ism gotten the attention it deserved. Previously, scholars who studied Islam largely dealt with Sunni sources. And so, even when they talked about Shi’ism, they were talking about it through the lens of Sunni authors and Sunni sources.

This is despite the fact that Shi’ites—while making up somewhere between 15 and 20 percent of the (Muslim) population—their contributions, intellectually, to Islamic tradition has been disproportionate.

Things started to change in the 1980s and 1990s, but even among scholars focused on Shi’ism, they have tended to focus on its origins, or trying to explain how the Iranian Revolution happened, so in both of those ways Hillah was ignored.

Question: Do you have any particular hopes for your book?

Ali: In general, the book has been received well. I think that people (in Islamic studies) recognize this was a crucial period in Shi’i religious history that hadn’t really been sketched out the way I did in the book.

In terms of contributing to a broader discussion, my hope is the book brings together theoretical conversations in religious studies with meticulous historical scholarship. In Islamic studies, it’s sometimes separated by people who do theoretically rigorous projects and people who do meticulous historical scholarship. I tried to do both, and I hope that the book contributes to bridging the gap between these two different approaches within Islamic studies.

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Associate Professor Aun Hasan Ali’s book about Islam’s School of Hillah explores the dynamics and formation of Twelver Shi’ism, arguing that the faith was open to diverse intellectual traditions.

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Juan Pablo Dabove, professor of Spanish, passes away at 56

Rachel Sauer — Tue, 11 Mar 2025 21:14:10 +0000

Juan Pablo Dabove, professor of Spanish, passes away at 56 Rachel Sauer Tue, 03/11/2025 - 15:14

Colleagues, students recall one of the ‘most significant commentators of Hispanic narrative’

Juan Pablo Dabove, professor of Spanish and Portuguese at the ��Vlog�ƽ��, passed away on Jan. 21, 2025. He was 56.

Dabove was an expert on postcolonial Latin American literature and culture, bandit narratives and Gothic literature.

Considered one of the “most significant commentators of Hispanic narrative” by the Revista Canadiense de Estudios Hispánicos, Dabove’s research focused on 19th- and 20th-century Latin American literatures, cultures and history.

Juan Pablo Dabove, professor of Spanish and Portuguese at CU ��Vlog�ƽ��, passed away on Jan. 21, 2025.

Colleagues and students remembered him as an influential and colorful figure in their lives.

“Smart. Funny. Driven. Juan Pablo was all of these things and more,” said a former student, Nikki, identified by first name only. “He convinced me to pursue a master's degree in Spanish literature at CU ��Vlog�ƽ��. If it hadn't been for his encouragement, I never would have applied. His unique perspective and insights opened up a whole new world for me and gave me a greater appreciation of Latin American literature.”

“He left us too soon and will be dearly missed,” Nikki added.

Mary K. Long, a teaching professor and the director of Spanish for the Professions, recalled that Dabove joined the department in a period of transition and “hit the ground running by making valuable contributions across all areas of crucial departmental need: teaching, research, service.”

Long added: “During these early years, we both had our offices next to each other in the basement. He used to listen to loud music when he was preparing his seminars. The energy coming through the wall was contagious, and I remember him telling me with joy, ‘This is what I always wanted to do.’”

Tania Martuscelli, associate professor of Spanish and Portuguese, said Dabove was a respected scholar whose work played a key role in making the Department of Spanish and Portuguese one of the top graduate programs, as recognized by the National Research Council, she said, adding:

“His research had a strong impact on the academic community. At literary conferences, mentioning CU ��Vlog�ƽ�� instantly brought to mind the name ‘Juan Pablo Dabove.’ We will miss the gaucho!”

Julio Baena, professor emeritus of Spanish and Portuguese, noted that he and Dabove were not close friends and were often on the opposite sides of departmental debates, such that Baena and Dabove had “frequent clashes,” Baena recalled, adding:

“That frequency, though, that amount of interaction, that abundance of point/counterpoint engagement built, over the years, a measure of mutual respect as solid as personal friendship, because one thing that we had in common was the worship of sincerity, the unmovable basement of honesty and the impulse to shake a worthy adversary’s hand.”

Baena noted that his style and Dabove’s were strikingly different, from the way they wrote to how they kept their offices. “His was in perfect order (compulsive at times) while mine was, as you all know, a mess, ‘una leonera.’”

Baena recalled a retirement party given in his honor at Dabove’s home. “I felt deeply moved and surrounded by the best company. It was not an institutional act. It was the personal initiative of a not-close friend who held me in high esteem, just as I held him. ‘Thanks for all these years; we’ll miss you,’ he was saying to me. Thanks for all these years, Juan Pablo: We’ll miss you, is what I now want to say to him.”

Dabove’s book Nightmares of the Lettered City: Banditry and Literature in Latin America, 1816–1929 won the 2010 Kayden Award and was met with critical acclaim for its “insightful and comprehensive analysis” of the portrayal of banditry in Latin American literature.

Drawing on the concept of the “lettered city” coined by Ángel Rama, Dabove explored how bandits were constructed in literature as symbols of resistance, rebellion or disorder, depending on their alignment with or opposition to emerging state powers.

Juan Pablo Dabove was the author of Nightmares of the Lettered City: Banditry and Literature in Latin America, 1816–1929, which won the 2010 Kayden Award and was met with critical acclaim, and Bandit Narratives in Latin America: From Villa to Chávez.

This book was followed in 2017 by Bandit Narratives in Latin America: From Villa to Chávez, also published by Pittsburgh. In this sequel, Dabove extended his exploration of banditry into the 20th and 21st centuries, focusing on how the figure of the bandit has evolved in literature, film and political discourse.

The book examines iconic figures like Pancho Villa and Hugo Chávez, analyzing their representation as both heroes and outlaws. Dabove considered how bandits challenge traditional notions of power, justice and social order, emphasizing their symbolic role in critiques of state authority and capitalism.

Like its predecessor, Bandit Narratives was critically acclaimed, particularly for how it illuminated the intersection of history, nation-building and literary, cultural and social traditions in Latin America, and for how it engaged in a broader discussion about the nature of language, literature and the role of intellectuals in the region.

In recent years, Dabove became interested in Gothic literature, probing the relationship between Gothic modes of representation and the crisis of liberalism in Latin America. By exploring how the Gothic aesthetic has been employed by Latin American writers, and its role in expressing social anxieties and historical traumas, Dabove’s research shed light on the Gothic’s role in articulating Latin America’s complex histories and identities.

At the moment of his passing, Professor Dabove was working on a book project titled The Gothic Moment in Argentine Culture.

Professor Dabove lectured nationally and internationally, being invited to deliver keynote addresses or as guest speaker at several conferences and universities in Latin America, Europe and the United States.

He contributed several entries for various dictionaries and encyclopedias of Latin American literature and culture, as well as several book chapters and articles for edited volumes, ranging in topic from canonical authors, such as José Fernández Lizardi or Jorge Luis Borges, to lesser-known writers.

Dabove was also very active in the Latin American Studies Association, the largest association of scholars studying the region.

Support Spanish and Portuguese scholarship at CU ��Vlog�ƽ��

Colleagues, students recall one of the ‘most significant commentators of Hispanic narrative.'

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‘My role is to remind you that we are all humans’

Rachel Sauer — Tue, 11 Mar 2025 14:37:12 +0000

‘My role is to remind you that we are all humans’ Rachel Sauer Tue, 03/11/2025 - 08:37

Collette Mace

In a community discussion March 4, Buffs One Read author Javier Zamora shared his immigration story, emphasizing the importance of representation

El Cadejo is a spirit figure in Central American folklore that takes the shape of a dog and can either help or harm travelers depending on whether their Cadejo is good or bad.

Salvadoran author and poet Javier Zamora sees his Cadejo as an embodiment of his ancestors, protecting and sheltering him through his arduous childhood immigration journey. He credits those who came before him with his survival against the odds.

Zamora shared this and other perspectives March 4 during the CU Buffs One Read author discussion. This academic year, the program chose Zamora’s memoir, Solito, as its Common Read selection.

Javier Zamora (left, with microphone) discussed his memoir, Solito, during a community event March 4 for the Buffs One Read program. (Photo: Collette Mace)

Solito details Zamora’s experience as a child immigrating from El Salvador to the United States, a journey that took him over land and sea, through dense urban settings and desolate deserts. In the memoir, he tells the story of his journey through his 9-year-old self’s eyes—a story that encapsulates the themes of courage that the Buffs One Read program aimed to highlight.

Zamora began the program by answering a few questions about his first book of poems, Unaccompanied, published in 2017. Addressing the book’s tone of urgency, Zamora noted that the purpose of this book was mainly to answer the question, “Why am I here?” Written right before the 2016 U.S. presidential election, he said he knew immigration was heavy on the minds of the nation, and he felt it was urgent to tell his story about migration, as well as his parents’ stories.

His family, part of the 2% of Salvadoran immigrants granted refugee status by the U.S. government, didn’t discuss with Zamora why they left El Salvador until he was much older. He recalled learning about his country through the ominous, ever-present headlines about the violence and cartel wars raging there.

The images of Salvadoran migrants were mostly “unaccompanied minors,” something Zamora both identified with and rebelled against, knowing that there was more to the migrants’ stories than what was being shown on the news.

This was partially why Solito had such a heavy change in tone, he said. He wanted to show the journey the way he experienced it as a boy—exploring the confusion, half-truths and even pockets of joy that he experienced on the journey. This was something that he only felt capable of doing after he had been employed at Harvard as a fellow, he said.

“Time is a privilege,” he said, adding that he recognized that the benefits his higher education, and thus employment, gave him the ability to process his childhood trauma enough to write his memoir well and authentically.

He credits therapy with his success in this and remarked that therapy is a lifelong journey from which everyone could benefit. Through his therapy, Zamora said he was able to explore his feelings about the “unaccompanied minor” stereotype associated with Salvadoran migration—imagery that was widely circulated around the United States in the early 2000s of El Salvadoran parents sending their children across the border unaccompanied, which furthered racism and anti-immigration rhetoric by painting Salvadoran parents as irresponsible. He questioned where he fit into that narrative and how to reckon with the overwhelming sense of survivor’s guilt that he still feels to this day.

His way of coping with the questions “Why me? Why did I survive when so many did not?” is through traditional Salvadoran folklore, which he mentions frequently in the memoir in the form of the spirit El Cadejo.

Feeling safe

Zamora also discussed his experience after migrating to the United States, specifically in schools. He said that he experienced bullying even in his predominantly immigrant community and oftentimes used “assimilation as a coping mechanism.” He tried to turn himself into an “American-born Salvadoran” to fit in, he said, by doing things like only speaking English and not having a strong attachment to El Salvador, and didn’t fully embrace his identity as an immigrant until much later in life, after years of therapy.

"Everyone should be allowed to exist as humans. Not just the children and not just the ‘good students,’ but everyone. My role is to remind you that we are all humans."

It wasn’t until late high school that he even considered writing poetry, he said. He recalled how looking up “Salvadoran poets” and seeing that representation was the catalyst for his interest in writing: “All of the sudden,” he said, “writing was something I could do, if I wanted to.”

He said that one of the most important discoveries he made within Salvadoran poetry was the coexistence of Spanish and English on the page, a reflection of how his parents and grandparents spoke, as well as English and academic language. “Representation fuscking matters,” he said.

One theme that Zamora strongly emphasized was the importance of teachers in the American school system, who make young immigrants feel a little bit safer. He mentioned how important it is for teachers to signal to students that they are safe. Even something as simple as speaking to him in Spanish was enough to signal to a young Zamora that his teachers were trustworthy; even if he chose not to talk with them about his trauma and experiences, he knew that he could, and that was what was important, he said.

Especially in a time where immigrants and children of immigrants may feel unsafe in school settings, he added, signaling to students that their teachers are there for them and that they are all on the same team is critical in making sure that children feel supported in the education system.

Explaining what he wanted people to take away from the Buffs One Read discussion, and from Solito as a whole, Zamora said, “Everyone should be allowed to exist as humans. Not just the children and not just the ‘good students,’ but everyone. My role is to remind you that we are all humans.”

He said he wanted the audience Tuesday to leave the conversation with the knowledge that borders and citizenship are new concepts and that being human is what binds us together: “We need to remember the past as actively as we are trying to erase it.”

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In a community discussion March 4, Buffs One Read author Javier Zamora shared his immigration story, emphasizing the importance of representation.

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‘Kenough’: Is 'Barbie' more revolutionary for men than women?

Rachel Sauer — Fri, 07 Mar 2025 21:08:55 +0000

‘Kenough’: Is 'Barbie' more revolutionary for men than women? Rachel Sauer Fri, 03/07/2025 - 14:08

Clay Bonnyman Evans

CU ��Vlog�ƽ�� PhD student’s paper argues that the hit film exemplifies ‘masculinity without patriarchy’ in media

M.G. Lord, author of Forever Barbie: The Unauthorized Biography of a Real Doll and co-host of the podcast LA Made: The Barbie Tapes, describes Greta Gerwig’s Oscar Award-winning, box-office behemoth Barbie as “incredibly feminist” and widely perceived as “anti-male.”

Meanwhile, conservative critics rail that the movie is “anti-man” and full of “beta males” in need of a testosterone booster. Conservative British commentator Piers Morgan called it “an assault on not just Ken, but on all men.”

CU ��Vlog�ƽ�� PhD student Julie Estlick argues that Greta Gerwig's award-winning film Barbie is "a really good film for Ken."

But ��Vlog�ƽ�� women and gender studies doctoral student Julie Estlick sees things differently. In her recent paper, “Ken’s Best Friend: Masculinities in Barbie,” published in Feminist Theory, she argues that the movie is “a really good film for Ken.”

On first viewing, Estlick noticed a woman nearby having a “very visceral, emotional response” to the now iconic monolog by actor America Ferrera, which begins, “It is literally impossible to be a woman.”

She wasn’t particularly moved by the speech, and walking out of the theater, she realized she didn’t see the movie as a clear-cut icon of feminism.

“I really questioned whether the film was actually about Barbie, and by extension, women, at least in the way people were claiming,” she says.

Once Barbie was available for streaming, Estlick took a closer look and arrived at a heterodox conclusion:

“Barbie is not anti-man; it is pro-man and is not necessarily a revolutionary film for women, at least not as much as it is for men,” she writes in the paper’s abstract. “This is because Barbie espouses non-hegemonic masculinity through cultural critiques that are rare to see in popular media.”

Hegemonic vs. toxic masculinity

For Estlick, “hegemonic masculinity” is a kind of stand-in for the “toxic masculinity” so often featured in media: superheroes, gangsters, vigilantes, killing machines who are also “lady killers.” Always strong, rarely emotional, such men are absurdly impermeable to harm, and sport chiseled features and perfectly sculpted abs, she says. Yet many are also “man children” whose “ultimate prize” is to have sex with a woman.

“That kind of media comes at the expense of women, works against women, and often oppresses women by sexualizing and objectifying them,” Estlick says.

In the film Barbie, the patriarchy ultimately doesn't serve the Kens any more than it does the Barbies, argues CU ��Vlog�ƽ�� PhD student Julie Estlick. (Photo: Warner Bros. Pictures)

Non-hegemonic masculinity is strong without being oppressive, and supportive and protective of women without regard to any quid pro quo. It allows for men to openly express emotions and vulnerability and to seek help for their mental-health struggles and emotional needs without shame, while retaining their strength, vitality and masculinity.

“It does the opposite of hegemonic masculinity,” Estlick says. “It works alongside women and doesn’t harm them in any way.”

The Kens are first represented in the movie as clueless accessories to the ruling Barbies of Barbie Land. But after Beach Ken (Ryan Gosling) and Stereotypical Barbie (Margot Robbie) find a portal to our world, Beach Ken returns and establishes a patriarchal society in which women become mindless accessories to hyper-competitive men in the thrall of hegemonic masculinity.

But ultimately, the patriarchy doesn’t serve the Kens any more than the Barbies.

“As people always say, men’s worst enemy under patriarchy isn’t women. It’s other men and their expectations, who are constantly stuffing men into boxes,” Estlick says.

Which isn’t to say that women don’t also enforce strictures of hegemonic masculinity.

“When little boys are taught to suppress emotions, little girls are watching. They are watching their fathers, and fathers onscreen, acting in certain ways,” Estlick says. “Girls internalize toxic ideologies the same ways boys do.”

Allan the exception

In Barbie, there is just one male who stands apart from Kendom: Allan, played by Michael Cera.

“Allan is positioned as queer in the film in that he is othered but not less masculine in the traditional understanding of the word,” Estlick writes. He “deviates from the conventional canon of masculinity” and “uses his masculinity for feminism and to liberate women while also protesting patriarchy.”

Allan doesn’t fit into Kendom, with or without patriarchy. As the narrator (voiced by Helen Mirren) notes, “There are no multiples of Allan; he’s just Allan.”

The character is based on a discontinued Mattel doll released in 1964, intended to be a friend to Ken. Fearing the friendship might be perceived as gay, the company swiftly removed Allan from store shelves, later replacing him with a “family pack” featuring Barbie’s best friend Midge as his wife, and a backstory that the couple had twins.

In the film, non-toxic Allan is immune to patriarchal brainwashing and sides with the Barbies in re-taking Barbie Land.

“(T)he film can be understood as a vital framework for masculinity that allows for vulnerability, emotion and heterosexual intimacy among men,” says researcher Julie Estlick. (Photo: Warner Bros. Pictures)

“Right off the bat we see (Allan) as queered from the rest of the Kens and Barbies,” Estlick says.

But Beach Ken, too, eventually senses that he’s not happy in the patriarchal society has created. In one of the movie’s final scenes, a tearfully confused Beach Ken converses with Stereotypical Barbie from a literal ledge:

“You have to figure out who you are without me,” Barbie tells him kindly. “You’re not your girlfriend. You’re not your house, you’re not your mink … You’re not even beach. Maybe all the things that you thought made you aren’t … really you. Maybe it’s Barbie and … it’s Ken.”

In other words, Barbie is rooting for Ken to claim his individuality.

“Beach Ken’s house, clothes, job and girlfriend all represent boxes that society expects men to tick, but this scene illustrates that it is okay to deviate from normative behaviors of masculinity and that manhood is not solely defined through heteronormative bonds and behaviors,” Estlick writes. And “it is acceptable for men to admit to a woman that they need help.”

Barbie is pure, candy-colored fantasy. But in our world, Estlick believes it points the way toward further non-toxic media representations of masculinity and ultimately contribute to better mental health for men trapped in a “man box” — as well as women who have borne the burden of men’s self- and societally imposed strictures on their own humanity.

“(T)he film can be understood as a vital framework for masculinity that allows for vulnerability, emotion and heterosexual intimacy among men,” she concludes. It “(opens) the door to the creation of more media that subverts societal expectations of toxic masculinity.”

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CU ��Vlog�ƽ�� PhD student’s paper argues that the hit film exemplifies ‘masculinity without patriarchy’ in media.

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Top image: Warner Bros. Pictures

Did ChatGPT write this? No, but how would you know?

Rachel Sauer — Mon, 03 Mar 2025 21:34:42 +0000

Did ChatGPT write this? No, but how would you know? Rachel Sauer Mon, 03/03/2025 - 14:34

Collette Mace

In her Writing in the Age of AI course, CU ��Vlog�ƽ��’s Teresa Nugent helps students think critically about new technology

One of the most contentious subjects in academia now is the use of AI in writing. Many educators fear that students use it as a substitute for critical thinking. And while students fear that they’re going to be accused of using it instead of doing their own critical thinking, some still use it anyway.

Some students, like their instructors, fear what AI is capable of, and they are highly uncomfortable with the risks associated with its use.

Teresa Nugent, a CU ��Vlog�ƽ�� teaching associate professor of English, invites students in the Writing in the Age of AI course to experiment with AI as part of their writing process and critically reflect on how these tools influence their ideas.

Teresa Nugent, a ��Vlog�ƽ�� teaching associate professor of English, has seen all these perspectives. When she first read the 2023 essay “I’m a Student. You Have No Idea How Much We’re Using ChatGPT” by Columbia University undergraduate Owen Kichizo Terry, she knew that it was time for educators and students to better understand AI use in writing, even though it was scary.

Two years later, she is in her second semester of teaching ENGL 3016, Writing in the Age of AI. In this course, Nugent invites students to experiment with AI as part of their writing process and critically reflect on how these tools influence their ideas. Her students have conversations with chatbots about topics that they know well and evaluate whether the bots actually know what they’re talking about.

Nugent says she hopes that taking a class in which they are encouraged to talk about AI use allows students to explore possibilities, play with these tools, test their capabilities and determine how best to use them. By teaching students how to use AI as a tool to help develop their critical thinking skills instead of just avoiding that hard work, Nugent aims to prompt students to think about the wider implications of AI, and where it can ethically fit into an academic curriculum.

“We as educators have an obligation to help our students develop the skills that they’re going to need in the world that is developing around all of us,” Nugent says. “If we try to pretend AI isn’t here, we are doing students a disservice. We need to find ways to inspire students to want to learn; we need to spark their curiosity and motivate them to find meaningful connections between course content and the world.”

Mixed feelings about AI

Not all students are enthusiastic about AI. Nugent explains that, since the class fulfills an upper-level writing requirement, she has students of all different majors and experience levels. Many students, she notes, come in with a great deal of apprehension about using AI, something the class discusses openly on day one.

Nugent asks her students to think of a story they’ve been told—often by a parent or grandparent—about what life was like before some commonplace technology—like cell phones or the internet—was invented.

“If we try to pretend AI isn’t here, we are doing students a disservice," says Teresa Nugent, CU ��Vlog�ƽ�� teaching associate professor of English.

Someday, she reminds her students, they'll tell stories about what the world was like before generative AI. New technology is always emerging, and the best way to adapt to the changing world is to keep learning about it, she says.

Nugent also acknowledges the real risks that come with AI use. She offers students a plethora of readings expressing a range of perspectives on the subject—including Neil Postman’s concerns about the unintended consequences of technological innovations and Mustafa Suleyman’s warning about the need to contain AI in his book The Coming Wave. Students read writings about how current educators have grappled with the release of AI chatbots and science fiction media depictions of AI, including the film Her and the dystopian serial Black Mirror.

Students also read texts about the harmful effects of AI on the environment, the issues of class and social justice that are entangled with AI use and psychological studies concerning AI.

Overall, Nugent says she wants students to leave the class with an informed understanding of AI. For their final project, students are required to research an aspect of AI in which they are particularly interested.

She says this leads to a wide array of research topics, often based on students’ majors; for example, an environmental studies major might research how to use renewable energy sources to power data centers. After writing academic papers, students reframe their research into a “blog” format that a general audience would find easily understandable.

“Knowledge is power,” Nugent says. “Being well informed about something always gives one more of a sense of agency than not being informed.” Ultimately, Nugent says she hopes that students will leave the class feeling confident and prepared to offer their knowledge about AI to society and keep themselves and others informed about this moment in technological history.

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In her Writing in the Age of AI course, CU ��Vlog�ƽ��’s Teresa Nugent helps students think critically about new technology.

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Schmooze-a-Palooza to celebrate community, song and Hebrew

Rachel Sauer — Fri, 28 Feb 2025 19:19:24 +0000

Schmooze-a-Palooza to celebrate community, song and Hebrew Rachel Sauer Fri, 02/28/2025 - 12:19

CU ��Vlog�ƽ�� event, now in its 11th year, will schmooze it up on March 12

For the past decade, Hebrew classes at the ��Vlog�ƽ�� have hosted a novel event described as a rite of passage: the Schmooze-a-Palooza—part concert, part community building and part celebration of Hebrew and song.

The 11^th-annual Schmooze-a-Palooza will be held at 6:30 pm Wednesday, March 12, in UMC Room 235. Anyone with an interest in Hebrew is invited.

What: 11th-annual Schmooze-a-Palooza

When: 6:30 p.m. March 12

Where: UMC Room 235

Who: Anyone with an interest in Hebrew is invited.

Led by Eyal Rivlin, a teaching professor of Hebrew language in the Program in Jewish Studies and a professional musician, students in each class prepare a well-loved song in Hebrew—memorizing it, dressing up, creating a dance and performing it in front of their peers.

Having taught in different capacities for more than 30 years, Rivlin wanted to extend learning beyond the classroom, help the different classes connect and inspire lifelong friendships.

“When we show up in creative and expressive manners, with permission to embody our inner rockstar, a vulnerability is tapped which sets the groundwork for connecting at deeper levels,” says Rivlin. “It is clear to me that in 20 years from now, many of my students will remember singing with their friends, taking a risk and showing up together and having fun in the context of learning a language.”

Through the years, the concert has expanded and now, in addition to class performances, Jewish Studies faculty offer a song from the stage, some students volunteer to perform solos and duets of their favorite Hebrew songs and members of the local Hebrew-speaking community prepare a song as well. This year there is even talk about a flash-mob dance, Rivlin says.

Students have said that the event is a highlight of their CU journey. Songs are a great way to expand vocabulary and memorize sentences and expressions. They also offer the community a taste of different cultural themes and musical styles.

This annual live concert is free and an opportunity to meet new friends, learn some Hebrew expressions and cheer fellow Buffs, Rivlin says.

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CU ��Vlog�ƽ�� event, now in its 11th year, will schmooze it up on March 12.

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Working with Data for Social Change symposium set for March 14

Rachel Sauer — Fri, 28 Feb 2025 18:15:53 +0000

Working with Data for Social Change symposium set for March 14 Rachel Sauer Fri, 02/28/2025 - 11:15

The all-day event will bring together local and national scholars engaged in digital public humanities projects to advocate for social change

The Data Advocacy for All project on the ��Vlog�ƽ�� campus is sponsoring a one-day Working with Data for Social Change symposium March 14.

This all-day event brings together local and national scholars engaged in digital public humanities projects to advocate for social change and who have worked to strengthen ethical data humanities education in higher education, said Laurie Gries, associate professor of English and director of the Program for Writing and Rhetoric, who is spearheading the symposium.

What: Working with Data for Social Change symposium

When: March 14

Where: In-person at CASE KOBL 140 and online; register here

All faculty, staff and students who want to learn more about the data humanities are invited.

The symposium aims not only to demonstrate and underscore the value of data advocacy research for the humanities at large, but also to generate collective ideas as to how to data advocacy education can be enhanced across the disciplines in higher education, according to Gries.

She said she believes the symposium will be of interest to faculty, staff and students who want to learn more about the data humanities and, more particularly, about data advocacy as a focus of research and/or pedagogy. Those interested in attending in-person or via Zoom can register here.

The symposium will feature scholars and activists from around the country, including Melissa Borja, Nasreen Abd Elal and Sylvia Fernández Quintanilla, who have advocated with data for social change on projects including the Virulent Hate Project, Visualizing Palestine and Torn Apart/Separados, respectively. Additionally, Gries will talk about her data-driven project, the Swastika Counter Project, which was recently profiled in Colorado Arts and Sciences Magazine.

Gries said the symposium also will feature scholars who have worked intently to build data humanities education within and beyond the CU ��Vlog�ƽ�� campus. For instance, in addition to featured speaker Melanie Walsh discussing the Responsible Data Sets in Context project, David Glimp, Nathan Pieplow and other CU ��Vlog�ƽ�� and CU Denver professors will speak about their efforts to train students how to engage data through critical, humanistic frameworks and how to use data effectively to address matters of significance to them and their communities.

Speaking of Gries’ efforts to spearhead the symposium, Glimp said, “Laurie has assembled a terrific team of collaborators to develop her vision of not only cultivating data literacy among our students but also equipping students with the tools to argue with data. By ‘arguing with data,’ I mean both being able to identify and assess all the ways data-backed arguments can mislead or go wrong, and being able to craft effective, responsible arguments with data about matters of the greatest urgency for our world.”

The Data Advocacy for All project was the recipient of a $300,000 CU Next Award in May 2022.

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The all-day event will bring together local and national scholars engaged in digital public humanities projects to advocate for social change.

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It’s a bird! It’s a plane! It’s another superhero film!

Rachel Sauer — Wed, 19 Feb 2025 20:45:54 +0000

It’s a bird! It’s a plane! It’s another superhero film! Rachel Sauer Wed, 02/19/2025 - 13:45

Doug McPherson

Following a blockbuster opening weekend for Captain America: Brave New World, CU ��Vlog�ƽ��’s Benjamin Robertson reflects on the appeal of superhero franchises and why they dominate studio release schedules

Captain America continues to conquer obstacles and crush villains―not bad for a man approaching age 85.

The comic book hero made his debut in print in December 1940, then on TV in 1966 and hit the silver screen in 2011―gaining massive momentum along with way. This past Presidents Day weekend, the fourth installment of the superhero series, “Captain America: Brave New World,” hit the top spot at the box office in the United States, and earned $192.4 million around the globe.

Benjamin Robertson, a CU ��Vlog�ƽ�� assistant professor of English, notes that superhero franchises are comforting in their repetitiveness.

It’s the fourth-best Presidents Day launch on record, behind three other superhero movies: Black Panther, Deadpool and Ant-Man and the Wasp: Quantumania.

What’s going on here? What’s giving Captain America his muscle? And why do folks keep going back to these same stories, characters and worlds over and over?

Benjamin Robertson, a ��Vlog�ƽ�� assistant professor of English who specializes in popular culture, film and digital media, says there are two answers: “One, the genre is comforting in its repetitiveness. This is the least interesting answer, however,” he says.

The second answer appears a little more sinister. Robertson says viewers return to these stories because creators make “story worlds that solicit consumers’ attention and that must always grow and that turn increasingly inward.”

He says the first Iron Man film is about America intervening in the Middle East following Sept. 11, but later MCU (Marvel Cinematic Universe, the franchise behind many superhero movies) films seem less and less about real or historical matters and more about the MCU itself.

“As a colleague once put it, every MCU film is simply the trailer for the next MCU film, the result of a strategy that seeks to create a fandom that can’t escape from the tangled narrative that the franchise tells,” he explains.

In short, Robertson says if consumers want to know the full narrative—the full world that these films and series describe—they have to go to the theater. “As this world becomes about itself rather than about external history or real-world events, a certain ‘lock in’ manifests, making it harder and harder to not see these films if one wants to understand the world they create.”

‘Flatter American identities’

Actor Anthony Mackie plays the titular Captain America in Captain America: Brave New World. (Photo: Marvel Studios)

Another trick is that MCU films tend to “flatter American identities” by celebrating militarism, focusing on charismatic heroes who try to do the right thing unconstrained by historical necessity and suggesting that everything will work out in the end, Robertson says.

“I can see the more comforting aspects of these films having appeal to many consumers. Don’t fear climate change, fear Thanos [a supervillain] and other embodiments of badness,” he says.

As to the question of whether franchises are just growing their worlds and the characters in them, or retelling the same story because it makes money, Robertson says each MCU film is a piece of intellectual property, but an individual film is far less valuable than a world.

“A film might spawn a sequel or sequels, but without developing the world, the sequels will likely be of lesser quality and, eventually, no longer be profitable or not profitable enough to warrant further investment,” Robertson says. “But if producers develop the world into a complex environment that contains numerous characters with distinct and yet intersecting story arcs, well, then you have the foundation for potentially unlimited storytelling and profit in the future.”

He adds that in that context, Captain America has obvious value as an individual character, but he has far more value as part of a world that can develop around him and allow for new actors to play him as he evolves with the world.

So, as the world grows as an intellectual property and in narrative development, "so does the potential for profit, although we may now be seeing the limits of this dynamic as some MCU films have not been doing as well at the box office over the past five years, although there are likely several factors that contribute to this decline.”

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Following a blockbuster opening weekend for ‘Captain America: Brave New World,’ CU ��Vlog�ƽ��’s Benjamin Robertson reflects on the appeal of superhero franchises and why they dominate studio release schedules.

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Top photo: Marvel Studios

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