Division of Arts and Humanities

Veteran sees Vietnam the country beyond the war

Anonymous — Fri, 25 Oct 2024 17:30:37 +0000

Veteran sees Vietnam the country beyond the war Anonymous (not verified) Fri, 10/25/2024 - 11:30

Rachel Sauer

CU �鶹ӰԺ alum and regent emeritus Peter Steinhauer shares Vietnam experiences with students, to be featured in the in-progress documentary Welcome Home Daddy

Peter Steinhauer joined the U.S. Navy because that’s what young men of his generation did.

“I was brought up to finish high school, go to college, join a fraternity, get married, spend two years in the military, then work the rest of my life,” he explains. “Of everybody I went to high school with in Golden, most of the boys went in (the military).”

So, after graduating the �鶹ӰԺ in 1958—where he met his wife, Juli, a voice major—he attended dental school in Missouri, then completed a face and jaw surgical residency, finishing in 1965. And then he joined the Navy.

Peter Steinhauer (left) and Steven Dike (right) after Steinhauer's presentation during the Oct. 18 class of The Vietnam Wars, which Dike teaches.

He had two young daughters and a son on the way, and he learned two weeks after being stationed at Camp Pendleton that he’d be shipping to Vietnam, where he served from 1966-67.

“How many of your grandparents served in Vietnam?” Steinhauer asks the students seated in desks rimming the perimeter of the classroom, and several raised their hands. Steinhauer has given this presentation to this class, The Vietnam Wars, for enough years that it’s now the grandchildren of his fellow veterans with whom he shares his experiences of war.

Even though Steinhauer had given the presentation before, the Oct. 18 session of The Vietnam Wars, for students in the Honors Residential Academic Program (HRAP), was different: It was filmed as part of the in-progress documentary Welcome Home Daddy, which chronicles Steinhauer’s experiences during and after the war and his deep love for the country and people of Vietnam.

“Pete told me once that he dreams about Vietnam all the time, but they’re not nightmares,” says Steven Dike, associate director of the HRAP and assistant teaching professor of history, who teaches The Vietnam Wars. “He’s spent his life as a healer and an educator, and I think one of the values (for students) is hearing how his experiences in the war informed his life after it.”

‘An old guy there’

Steinhauer, a retired oral surgeon and CU regent emeritus, served a yearlong tour with the 3rd Marine Division, 3rd Medical Battalion in Da Nang, Vietnam. Lt. Cmdr. Steinhauer was a buzz-cut 30-year-old—“an old guy there,” he tells the students—with a Kodak Instamatic camera.

He provided dental care and oral surgery to U.S. servicemen and servicewomen as well as Vietnamese people, and he took pictures—of the rice paddies and jungles, of the people he met, of the nameless details of daily life that were like nothing he’d experienced before.

“This was the crapper,” Steinhauer tells the students, explaining a photo showing a square, metal-sided building with a flat, angled roof. “There were four seats in there and no dividers, so you were just sitting with the guy next to you.”

When the electricity went out, he and his colleagues worked outside. When helicopters came in with the wounded, it was all hands on deck.

Left image: Pvt. Raymond Escalera holds the since-deactivated grenade that Peter Steinhauer (to Escalera's left) removed live from his neck, in a photo that made the front page of The Seattle Times; right image: Peter and Juli Steinhauer (on right) visit Raymond Escalera (white shirt) and his wife in California.

“They’d be brought off the helicopter and taken to the triage area,” Steinhauer says, the photo at the front of the classroom showing the organized chaos of it. “A lot of life-and-death decisions were made there, catheters and IVs were started there. The triage area is a wonderful part of military medicine.”

Steinhauer also documented the casualties, whose starkness the intervening years have done nothing to dim. One of his responsibilities was performing dental identification of bodies, “one of the hardest things I did,” he says.

Then there was Dec. 21, 1966: “A guy came in—it was pouring rain, and we had mass casualties—and he came in with trouble breathing,” Steinhauer recalls. “We discovered he had an unexploded M79 rifle grenade in his neck. We got it out, but a corpsman said, ‘Doc, you better be careful with that, it can go boom.’”

Not only did Marine Pvt. Raymond Escalera survive a live grenade in his neck, but about 12 years ago Steinhauer tracked him down and visited him at his home in Pico Rivera, California. “We call four or five times a year now,” Steinhauer says.

Building relationships

Steinhauer and his colleagues also treated Vietnamese civilians. “One of the most fun parts of my year there was being able to perform 60 or 70 cleft lip surgeries,” Steinhauer tells the students, showing before and after photos.

Peter Steinhauer (left) and medical colleagues in Vietnam, with whom he worked during many of his 26 visits to Vietnam since the end of the war.

He then shows them a photo of the so-called “McNamara Line” between North and South Vietnam—a defoliated slash of brown and gray that looks like a wound that will never heal.

Healing, however, has happened, and continues to. “I was blessed by the ability to go back to a place where so many horrible things happened during the war and make something beautiful of it,” Steinhauer says.

In the years since he returned from war—and met his almost-one-year-old son for the first time—Steinhauer has gone back to Vietnam more than two dozen times. Acknowledging that his experience is not all veterans’ experience, he says he has been blessed to learn about Vietnam as a country and not just a war.

“How veterans dealt with the war, how they’re still coming to terms with it as we’re getting further away from it, are really important issues,” says Mark Gould, director and a producer of Welcome Home Daddy. “It’s not just a war that we quote-unquote lost, but it was the most confusing war the United States has ever fought. We never had closure, but that didn’t stop Dr. Steinhauer from reaching out. Our tagline is ‘Governments wage war, people make peace,’ and that’s what he stands for.”

The idea for the documentary originated with Steinhauer’s daughter, Terrianne, who grew up not only hearing his stories but visiting the country with him and her mom. She and Gould served in the CalArts alumni association together, and several years ago she pitched him the idea for Welcome Home Daddy, which they are making in partnership with producer Rick Hocutt.

Peter Steinhauer with his children upon his return home after serving in the Vietnam War; the "Welcome home daddy" message inspired the title of the documentary currently being made about Steinhauer's experiences during and after the war.

The documentary will weave Steinhauer’s stories with those of other veterans and highlight the relationships that Steinhauer has built over decades—through partnering with medical professionals in Vietnam and volunteering his services there, through supporting Vietnamese students who study in the United States, through facilitating education and in-person visits between U.S. and Vietnamese doctors and nurses. At the same time, Juli Steinhauer has grown relationships with musicians and other artists in Vietnam. Both parents passed a love for Vietnam to their children.

An ugly war, a beautiful country

The stories of Vietnam could fill volumes. In fact, Steinhauer attended a 10-week course called Tell Your Story: A Writing Workshop for Those Who Have Served in the Military in 2008—offered through the Program for Writing and Rhetoric and the Division of Continuing Education—and wrote Remembering Vietnam 1966-67, a collection of his memories and photographs of the war that he published privately and gives to family, friends and colleagues.

�鶹ӰԺ 10 years ago, Steinhauer asked to audit The Vietnam Wars—“wars” is plural because “we can’t understand the American war without understanding the French war,” Dike explains—in what was only the second time Dike had taught it.

“So, I was a little nervous,” Dike remembers with a laugh, “but he comes in and is just the nicest guy in the world. I asked if he’d be interested in sharing his experiences, and he’s given his presentation during the semester every class since.”

In the Oct. 18 class, Steinhauer shares stories of bamboo vipers in the dental clinic, of perforating vs. penetrating wounds, of meeting baseball legends Brooks Robinson and Stan Musial when they visited the troops, of a since-faded Vietnamese tradition of women dyeing their teeth black as a symbol of beauty.

“It was an ugly war, but it’s a beautiful country,” Steinhauer says. “Just a beautiful country.”

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CU �鶹ӰԺ alum and regent emeritus Peter Steinhauer shares Vietnam experiences with students, to be featured in the in-progress documentary Welcome Home Daddy.

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Swastika Counter Project launches

Anonymous — Thu, 24 Oct 2024 21:19:27 +0000

Swastika Counter Project launches Anonymous (not verified) Thu, 10/24/2024 - 15:19

Bradley Worrell

Public advocacy website envisioned by CU �鶹ӰԺ associate professor Laurie Gries tracks swastikas across the U.S. and offers resources to counter those hate-filled incidents

In the months leading up to Donald Trump’s election in 2016, Laurie Gries, director of the �鶹ӰԺ Program for Writing and Rhetoric and associate professor of English, became increasingly concerned about almost-daily news reports of swastikas—sometimes accompanied by hate-filled messages—showing up in public spaces across the country.

“This was the same time when various sources were reporting rising incidents of hate and bias in the United States, when Donald Trump and his racist and divisive rhetoric was just coming into political power, and when white nationalist organizations seemed to be coming out of the woodwork,” she says.

Laurie Gries, director of the �鶹ӰԺ Program for Writing and Rhetoric and associate professor of English, became increasingly concerned about almost-daily news reports of swastikas—sometimes accompanied by hate-filled messages—showing up in public spaces across the country.

Determined to address the issue of the swastikas head on, Gries began working on a project with a team of interdisciplinary scholars with expertise in visual communication, critical geography and social justice education. Their aim was to identify how and where swastikas were placed, who they targeted, what messages they conveyed and how communities responded. The coordinated results of that five-year effort—which document 1,340 swastika incidents in total—recently went live on The Swastika Counter Project website.

Recently, Gries spoke with Colorado College of Arts and Sciences Magazine about the Swastika Counter Project. Her answers were lightly edited for style and condensed for space limitations.

Question: How did the swastika project come together and why did you decide you needed to address this issue?

Gries: When Trump first came onto the political scene, I started hearing about increased incidents of hate and violence, and as a visual rhetoric scholar, I began noticing more and more reports of swastikas showing up on the streets of the United States.

On the day that Trump was elected, I woke up deeply concerned and asked, ‘What if I tracked these swastikas? What if I took the digital research method called iconographic tracking that I worked for 10 years to develop and applied it to this particular case? What might we discover?’

I didn’t really start tracking swastikas on that day; I just made the commitment because I had long wanted to use my scholarship for public humanities research. I guess, then, one might say that Trump was the motivator, but really it was fear. At the time, a lot of people—the FBI, the Southern Poverty Law Center, journalists and scholars—were attributing a rise in antisemitism and violence to his rhetoric. It was my fear that if that’s the case, those incidents were surely only going to be amplified as he rose to power.

I don’t have any comparative data (i.e., data on swastika incidents) prior to Trump’s arrival on the political scene to confirm whether that’s true or not, so I’m very careful to say that the data we collected can’t really be used as evidence for that claim, but in our data, we certainly can see that there are a lot of associations that people are making between swastikas and Donald Trump and white nationalism.

Question: Was no one else tracking and compiling these incidents in which swastikas were being placed at houses of worship, schools and other sites?

Gries: Actually, there are quite a few projects that have tracked antisemitism, and even swastikas, but they have been constrained in various ways. Some sites only track antisemitism that happen on college campuses. Some track antisemitic events that happened all over the world. Then there are sites like ProPublica, whose tracking projects were limited to a particular year. So, I wanted to create a project that would transcend some those constraints.

Question: What are some of the top findings of your research as it relates to swastika placement, any language accompanying the swastikas, maybe any surprises your research uncovered?

Data analysis by The Swastika Counter Project found at least 1,300 documented incidents of swastikas in the United States between Jan. 1, 2016, and Jan. 20, 2021.

Gries: I think it’s important to note that the swastika incidents we discovered occurred in all 48 contiguous states and in the District of Columbia, so this is a national problem. Of course, they were showing up more in cities with large populations, which is to be expected. But we were surprised that according to our data, swastika incidents most often surfaced in schools, and almost equally in K-12 and higher education settings. We thought swastikas might mostly show up on the exterior of religious institutions, and particularly Jewish religious institutions, but that wasn’t the case.

We also were surprised to discover so many swastikas surfacing in private spaces. Of course, a lot of swastikas were spray painted on the exterior of buildings in urban spaces. But our data discloses how swastikas were often drawn on people’s cars, on their homes, on the dorm doors of students, and in some cases, on the interior walls of people’s homes that had been broken into and, in one case, lit on fire.

I think the other most surprising finding was just the horrific language that was showing up alongside swastikas—from racist and homophobic appeals to white nationalism to implicit threats of surveillance and violence to direct threats of genocide. And also that such threats were directed at not only Jewish community members; a lot of Black American, Latinx, LGBTQ-plus community members and immigrants were also commonly targeted. It was just overwhelming—the multi-directional hate and very graphic violence.

Question: How did Colorado compare to other parts of the country when it came to swastika incidents?

Gries: For Colorado, there were 30 reported incidents in our data set. So, I would say it’s not uncommon in Colorado for these swastikas incidents to occur, and I’ve had a lot of people tell me about swastikas they witnessed that aren’t even in our data set.

We know, for instance, that Colorado State University in Fort Collins has had so many swastika incidents that they recently created an antisemitism task force. One of our (Swastika Counter Project) advisory board members is actually heading up that task force because antisemitism on that campus has become such a serious problem.

In contrast to the incidents of public swastikas that The Swastika Counter Project tracks, some cities worldwide have also seen anti-swastika graffiti. (Photo: Cogiati/Wikimedia Commons)

Question: Beyond tracking incidents of swastika placement around the country, what other kinds of information can be found on the Swastika Counter Project website?

Gries: Part of our challenge was figuring out how to present the data in ways that would be useful for a variety of community stakeholders—people who are dealing with swastika incidents in their communities, such as school administrators, teachers and parents, the local police force, and local and national politicians. We wanted to create a swastika tracking project that has a strong civic component to it, which I think makes this project a bit unique. So, we created an interactive map that can be filtered in different ways; data visualizations that can be easily downloaded; and educational resources and lesson plans for teachers at various levels. We also generated two different reports, one of which describes and analyzes how different communities have responded to swastika incidents, so that stakeholders can read those accounts and learn from them. That’s especially important, because in our research we found that the various stakeholders often worked in isolation in responding to swastika incidents.

Question: The Swastika ‘Counter’ Project—is it fair to say the name is a play on words?

Gries: Yes—it’s a double entendre. The goal is to both count and counter the contemporary proliferation of swastika incidents in the United States. And in that sense, the Swastika Counter Project is very much a scholarly activist project.

When we first began tracking swastika incidents, we planned to simply report our data and let the evidence speak for itself. And to a great extent, the data still does do that. Our findings report, for instance, is largely descriptive. But the longer we worked on the project and discovered the gross horror of violence that was ensuing, the more we felt compelled to also take more concerted action by building out the educational component of the website. So today, I don’t pretend that the data advocacy website isn’t motivated by my own desire to try to address some very real, pressing problems and to use my scholarship to try to create a more just world. This is very much a project where I’m wearing my activism on my sleeve.

Question: What kind of assistance did you have when it came to tracking and compiling data, creating visual representations, developing a website, etc.?

Gries: The central work of tracking, coding, and analyzing was done by myself and Kelly Wheeler (assistant professor at Curry College), but we soon realized we needed more help. I reached out to Morteza Karimzadeh in the geography department here at CU �鶹ӰԺ, and he and his former student, Jason Miller, ended up doing all the amazing work with the mapping part of the project.

Residents of Eugene, Oregon, responded against swastikas found in a city neighborhood in 2017. (Photo: SBG Photo)

I am also really proud that we received a lot of help from various students at and beyond CU. For instance, an undergraduate computer science major at the University of Michigan, Ann Arbor, worked on the data visualizations with us, while graduate students from that same institution helped to create some of the lesson plans. Here at CU �鶹ӰԺ, a team of undergraduate students enrolled in a technical communication and design class in the Program for Writing and Rhetoric did a user-centered study for us to help develop a website that would be easy to navigate and comprehend for a public audience. And then another group of tech comm students helped us figure out how to invite community participation through features under the Contribute tab of the website. In this sense, the Swastika Counter Project is really exemplary of the immense value that data humanities and public humanities education can have for both undergraduate and graduate students. I am really excited about that.

Question: People who commit several years of their life to a project will often call it a labor of love. Is that how you would describe this project?

Gries: For me, I don’t think it was about love so much as it was about committing to do social justice work and really trying to walk the walk. I mean, as you might imagine, it was not fun to track so many incidents of hate and violence around the country. …

It’s also just been a beast in terms of labor. I tell people that this project was probably more intense work than my first 350-page monograph because I had to teach myself so many new skills, not only in terms of research, but also guiding and managing team projects, doing data advocacy, and developing web content skills. I am so glad I did this project, but for the last eight years, it’s just been very intense.

Question: If former President Trump is elected to a second term in November, do you think you would take up this project again?

Gries: I’m really, really torn. Part of me wants to try to secure some national funding and put together a larger team. If I did, I would also want to research (swastika incidents during) the Biden administration, and then start tracking in the present time, too, because I think that longitudinal study would help us address certain questions that we weren’t able to address in this project.

On the other hand, I started this project in early 2017, and it became a large part of my life. My husband would tell me that on days I was doing the researching and the coding that I was affectively different. I was angry. I was upset. I was impatient.

I honestly don’t know if I want to put myself through that again on a personal level. I truly believe that more arts and humanities faculty need to be doing this kind of work, as I think we can bring an important perspective to data-driven research that addresses pressing socio-cultural problems. And maybe if I had the funding and could put together a large enough team where I didn’t have to bear so much of the burden I would consider it, but right now I just don’t know.

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Public advocacy website envisioned by CU �鶹ӰԺ associate professor Laurie Gries tracks swastikas across the U.S. and offers resources to counter those hate-filled incidents.

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William Wei is again named Colorado’s state historian

Anonymous — Wed, 23 Oct 2024 14:43:11 +0000

William Wei is again named Colorado’s state historian Anonymous (not verified) Wed, 10/23/2024 - 08:43

Adamari Ruelas

CU �鶹ӰԺ historian serving second term in position, focusing on an accurate and comprehensive portrayal of Colorado’s history

William Wei, a �鶹ӰԺ professor of history and faculty affliate in the Center for Asian Studies, has been named state historian by History Colorado, his second time receiving the honor.

William Wei, CU �鶹ӰԺ professor of history and Colorado state historian, is the author of Asians in Colorado: A History of Persecution and Perseverance in the Centennial State.

Wei was one of the five founders of History Colorado’s State Historian’s Council, which “reaches across the state to aid in the interpretation of the history of Colorado and the West, providing opportunities to expand the understanding of the historical perspectives, cultures and places of Colorado.”

The State Historian’s Council was founded in 2018 and comprises five interdisciplinary scholars who provide complementary perspectives and rotate the state historian position every year on Aug.1, Colorado Day. Wei’s first term as state historian was from 2019-2020.

"It is a great honor to be appointed the Colorado state historian again,” Wei says. “I remain committed to ensuring that Coloradans receive an accurate and comprehensive portrayal of the Centennial State's history. This commitment naturally extends to Colorado's marginalized communities, whose stories have often been neglected, overlooked and forgotten.”

Wei was named the 2022 Asian American Hero of Colorado and is the author of Asians in Colorado: A History of Persecution and Perseverance in the Centennial State. He also was a founding editor-in-chief of History Colorado’s Colorado Encyclopedia and a lead advisor for the organization’s Zoom In: The Centennial State in 100 Objects.

“William brings a broad global perspective alongside an encyclopedic interest in Colorado to the role of State Historian,” notes Jason Hanson, chief creative officer and director of interpretation and research at History Colorado, in announcing Wei’s second term. “He is passionate about how historical perspective can help us see the present more clearly and in ways that can truly improve people’s lives. I am excited for him to share his knowledge and passion with the people of Colorado as the state historian once again.”

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CU �鶹ӰԺ historian serving second term in position, focusing on an accurate and comprehensive portrayal of Colorado’s history.

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Loving the art but not the artist

Anonymous — Mon, 21 Oct 2024 19:45:24 +0000

Loving the art but not the artist Anonymous (not verified) Mon, 10/21/2024 - 13:45

Adamari Ruelas

CU �鶹ӰԺ philosopher Iskra Fileva explores the complexities in separating the magic of a story from the controversies of its teller

The transition from summer to fall—trading warm days for cool evenings—means that things are getting … spookier. Witchier, maybe. For fans of the series, the approach of Halloween means it’s time to rewatch the Harry Potter movies.

This autumn also marks the 25^th anniversary of the U.S. release of Harry Potter and the Prisoner of Azkaban, book three in author J.K. Rowling’s seven-book series about a boy wizard defeating the forces of evil with help from his friends. Many U.S. readers of a certain age cite Azkaban as the point at which they discovered the magic of Harry Potter.

However, in the years since the series ended, Rowling has gained notoriety for stating strongly anti-trans views. Harry Potter fans have expressed disappointment and feelings of betrayal, and asked the question that has shadowed the arts for centuries, if not millennia: Is it possible to love the art but dislike the artist? Can the two be separated?

CU �鶹ӰԺ philosopher Iskra Fileva notes that, "Even if you are an aestheticist, you probably cannot separate the art from the artist if the background information is affecting the proper interpretation of the story.”

“In principle, you can try to focus on the purely aesthetic properties of an artwork. This is the aestheticist attitude,” says Iskra Fileva, a �鶹ӰԺ assistant professor of philosophy who has published on topics of virtue and morality. “But even if you are an aestheticist, you probably cannot separate the art from the artist if the background information is affecting the proper interpretation of the story.”

The Impact of Knowing

Fileva offered as an example the work of Nobel Prize-winning author Alice Munro. In a short story called “Wild Swans,” Munro depicts a young girl on a train who is sexually assaulted by an older man sitting beside her, but who pretends to be asleep and does nothing because she is curious about what would happen next.

Munro’s daughter came forward several months after Munro’s death in May to say she’d been abused by her stepfather and that her mother, after initially separating from her stepfather, went back to live with him, saying that she loved him too much.

Fileva points out that in light of these revelations, it is reasonable for readers of “Wild Swans” to reinterpret the story. Whereas initially they may have seen it as a psychologically nuanced portrayal of the train scene, they may, after learning of the daughter’s reports, come to read the story as an attempt at victim-blaming disguised as literature.

Fileva contrasts Munro’s case with cases in which an author may have said or done reprehensible things, but not anything that bears on how their work should be interpreted—as when Italian painter Caravaggio killed a man in a brawl, but the homicide is considered irrelevant to interpreting his paintings.

Fileva points out also that the question of whether the art can be separated from the artist may seem particularly pressing today, because modern audiences know so much more about artists than art consumers in the past may have. If no one knows facts about the author’s life, art consumers would be unable to draw parallels between an artwork and biographical information about the author.

“These are things that, historically, few would have known about—the origin of a novel or any other kind of artwork. Art might have looked a little bit more magical, and there may have been more mystery surrounding the author and in the act of creation,” says Fileva, explaining how the personal lives of artists have begun to seep into the minds of their consumers, something that has recently become common.

"The Crowning of Thorns" by Michelangelo Merisi da Caravaggio (ca. 1602-1607). Philosopher Iskra Fileva notes that even though Caravaggio killed a man in a brawl, the homicide is considered irrelevant to interpreting his paintings.

In 1919, poet T.S. Eliot wrote, “I have assumed as axiomatic that a creation, a work of art, is autonomous.” And in his essay “The Death of the Author,” literary theorist Roland Barthes criticized and sought to counter “the explanation of the work is always sought in the man who has produced it, as if, through the more or less transparent allegory of fiction, it was always finally the voice of one and the same person.”

However, early 20th-century movements such as New Criticism, which considered works of art as autonomous, have given way to more nuanced considerations of art in relation to its artist.

“I do think that if you want to understand what work literature does in the world, starting with its historical moment is an important step,” Amy Hungerford, a Yale University professor of English, told author Constance Grady in a 2019 story for Vox. “But I also am fully committed to the idea that every generation of readers remakes artworks’ significance for themselves. When you try to separate works of art from history, whether that’s the moment of creation or the moment of reception, you’re impoverishing the artwork itself to say that they don’t have a relation.”

Too many tweets

The growth of social media has added a new layer to the issues of art and the artists who create it. According to Fileva, social media have made it more difficult to separate the two because of how much more the consumer is able to know, or think they know, about the artist: “Artists are often now expected to have a public persona, to be there, to talk to their fans, to have these parasocial relationships, and that might make it difficult to separate the art from the artist,” she says.

In Fileva’s view, all this creates a second way in which facts about the author seem to bear on the public’s perception of an artwork. While learning about the revelations made by Munro’s daughter may lead some readers to reinterpret “Wild Swans,” other readers and viewers may feel disappointed and “let down” by the author even without reinterpreting the artwork or changing their judgment about the work’s qualities.

This fall marks the 25th anniversary of the U.S. release of Harry Potter and the Prisoner of Azkaban, which many U.S. readers of a certain age cite as their entry point into the series.

This is another way in which it may become difficult to separate the art from the artist: The work becomes “tainted” for some audience members because of what they have learned about its creator.

It may have always been the case, Fileva suggests, that people who really loved a work of art, even when they knew nothing about its creator, imagined that they were connected to the artist, but this is truer today than ever. Fans are able to follow their favorite artists on social media and feel that they know the artist as a person, which creates expectations and the possibility for disappointment.

Perhaps inevitably, greater knowledge of the artist as a person affects how consumers interact with his or her art—whether it’s Ye (formerly Kanye) West’s music, Johnny Depp’s films or Alice Munro’s short stories.

So, where does that leave Harry Potter fans who have been disappointed by Rowling’s public statements?

Different books by Rowling illustrate the two different ways in which biographical information about the author may affect readers’ interpretation of the work, Fileva says. Rowling’s book (written under the pen name Robert Galbraith) The Ink Black Heart, featuring a character accused of transphobia, is an example of the first way: Facts about the author’s life may bear directly on the interpretation of the work.

When, by contrast, a transgender person who loved Harry Potter in her youth and loved Rowling feels saddened by statements Rowling made about gender, the reader may experience the book differently without reinterpreting it, Fileva says. Such a reader may think that the book is just as good as it was when she fell in love with it; it’s just that she can no longer enjoy it in the same way.

Some art consumers are more inclined to be what Fileva calls “aestheticists”—Barthes’ account of the death of the author resonates with them. Aestheticists may find it easier to separate the art from the artist in cases in which biographical information about the author is irrelevant to understanding and interpreting the work.

Whether any reader, whatever their sympathies, can separate facts about Munro’s life from the story “White Swans” or Rowling’s public pronouncements on gender from the interpretation of her book The Ink Black Heart, Fileva says, is a different question.

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CU �鶹ӰԺ philosopher Iskra Fileva explores the complexities in separating the magic of a story from the controversies of its teller.

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Paul Sutter honored as 2024 Professor of Distinction

Anonymous — Fri, 18 Oct 2024 21:28:50 +0000

Paul Sutter honored as 2024 Professor of Distinction Anonymous (not verified) Fri, 10/18/2024 - 15:28

College of Arts and Sciences leadership and peers recognize history professor’s service, teaching and research with the award

Paul Sutter, a �鶹ӰԺ professor of history, has been named the 2024 College Professor of Distinction by the College of Arts and Sciences in recognition of his exceptional service, teaching and research.

The college presents this prestigious award annually to current faculty members who are scholars and artists of national and international renown and who are recognized by their college peers as teachers and colleagues of exceptional talent. Honorees hold this title for the remainder of their careers in the College of Arts and Sciences at CU �鶹ӰԺ.

“Being named a Professor of Distinction is a career honor, and I am deeply appreciative of my wonderful colleagues in the History Department who nominated me for this award, and those around campus who supported my nomination,” Sutter notes.

Sutter’s research focus is U.S. and global environmental history. He is the author of Driven Wild: How the Fight against Automobiles Launched the Modern Wilderness Movement (2002) and Let Us Now Praise Famous Gullies: Providence Canyon and the Soils of the South (2015).

CU �鶹ӰԺ Professor Paul Sutter is the author of many accalimed essays and books, including Driven Wild: How the Fight against Automobiles Launched the Modern Wilderness Movement and Let Us Now Praise Famous Gullies: Providence Canyon and the Soils of the South.

In Driven Wild, Sutter details an aspect of his longtime intellectual fascination with wilderness and U.S. environmental history: “Historians had long studied the centrality of the wilderness idea in American history, from its importation as a filter for viewing the colonial landscape to its role as a shibboleth of the postwar environmental movement, and I was fascinated by the same questions that preoccupied many of these scholars: How was it that a nation founded upon an antipathy for the wilderness had come to cherish and protect it? What had produced this intellectual and cultural sea change?”

In addition, Sutter is the co-author of The Art of Managing Longleaf: A Personal History of the Stoddard Neel Approach (with Leon Neel and Albert Way, 2010), and the co-editor of Environmental History and the American South: A Reader (with Christopher Manganiello, 2009) and Coastal Nature, Coastal Culture: Environmental Histories of the Georgia Coast (with Paul Pressly, 2018).

His current book project, Pulling the Teeth of the Tropics: Environment, Disease, Race, and the U.S. Sanitary Program in Panama, 1904-1914, is an environmental and public health history of the construction of the Panama Canal.

In addition to his books, Sutter has also written a number of influential essays on environmental historiography, including a state-of-the-field essay in the Journal of American History (June 2013), and he is the series editor for Weyerhaeuser Environmental Books, published by the University of Washington Press. He has received major fellowships from the Smithsonian Institution, the Huntington Library, the National Endowment for the Humanities, the National Library of Medicine/National Institutes of Health, the Rachel Carson Center for Environment and Society, and the National Humanities Center.

Sutter earned his BA in American studies from Hamilton College and his PhD from the University of Kansas. He was a postdoctoral fellow at the University of Virginia from 1997 to 2000 and a member of the History Department at the University of Georgia from 2000 to 2009. He joined CU �鶹ӰԺ as an associate professor of history in 2009 and was named professor in 2016.

Sutter served as Department of History chair from 2017-2021. He is a faculty affiliate in the Department of Environmental Studies and in the Center of the American West, and he has just joined the Advisory Board of the Ted Scripps Fellowships in Environmental Journalism.

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College of Arts and Sciences leadership and peers recognize history professor’s service, teaching and research with the award.

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A reincarnated Elizabeth I greets friendly audiences, even in Scotland

Anonymous — Tue, 15 Oct 2024 20:09:27 +0000

A reincarnated Elizabeth I greets friendly audiences, even in Scotland Anonymous (not verified) Tue, 10/15/2024 - 14:09

Rachel Sauer

Actor and theater scholar Tamara Meneghini brings the long-ruling monarch to life in a solo performance that earned rave reviews at the recent Edinburgh Festival Fringe

Historical figures are so easily flattened into two dimensions—all stiff pleats and inscrutable expressions rendered in oils.

The challenge for artists and scholars, then, is how to lift these figures from the canvas—to regard them in three dimensions, to allow them foibles and failings and humanity.

For Tamara Meneghini, that meant more than just donning a red wig and pounds of brocade as one of the most famous women in Western history. It meant studying the time in which Elizabeth I of England lived—researching what influenced her behavior in her time period, how she interacted with people, what games she played, how she followed the rules and how she broke them.

Tamara Meneghini, an associate professor in the CU �鶹ӰԺ Department of Theatre and Dance, performed to rave reviews as the titular monarch in "Elizabeth I: In Her Own Words" at the Edinburgh Festival Fringe.

To become Elizabeth I onstage, Meneghini had to understand the monarch as a human woman and bring her to life for modern audiences who may believe there’s nothing new to understand about her.

So, audiences at Scotland’s Edinburgh Festival Fringe in August were surprised and then delighted to rediscover the queen they thought they knew. Playing the not-so-popular-in-Scotland monarch in the one-woman performance “Elizabeth I: In Her Own Words,” Meneghini performed before full theaters and to glowing reviews.

“The key to fringe festivals is audiences want you to connect,” explains Meneghini, an associate professor in the �鶹ӰԺ Department of Theatre and Dance. “You have to connect. The audience can’t be just audience. The way our piece was set up, it worked really nicely that audience felt like A) they were in the presence of the queen and B) they could not leave, they were there with me in the moment, in this meta sort of space. I was interacting with them as the queen, but in a very specific circumstance we had created.”

Becoming Elizabeth

Meneghini’s interest in Elizabeth I grew, in part, from her interest in styles and plays from different time periods—"the ways in which we behave in those time periods, how changes in clothing, dances, culture, protocols can affect behavior,” she explains.

While working at the University of Nebraska Lincoln, where she taught before joining the CU �鶹ӰԺ faculty in 2008, Meneghini developed a concert of early Renaissance music that involved era-specific instruments such as sackbuts and crumhorns. However, she also wanted to bring in elements of theater and approached Carole Levin, a pre-eminent scholar of Elizabeth I and women in the Renaissance era.

“Carole was pivotal because what we created was a fictitious meeting between Elizabeth I and Mary Queen of Scots,” Meneghini says. “Part of that was crafting this improvisation with students that was really cool. It ended up being a combination of theater and film and history, and it was just a blast.”

Fast forward to 2016, when CU �鶹ӰԺ was honored as a stop for the first-ever national touring exhibition of Shakespeare’s First Folio.

Tamara Meneghini as Elizabeth I outside Edinburgh's Craigmillar Castle (left) and onstage (right) as the long-ruling monarch.

“When the Folio came through, I was doing a period styles class, and I was asked to create something for the Folio visit,” she says. “I immediately thought of Elizabeth I—the idea of Elizabeth, the time period, Shakespeare’s plays. I know they never met, but she certainly influenced his plays, so I started working on this thing based on Carole’s series of lectures that she did about Elizabeth.”

The initial performance was a duet, with Meneghini playing Elizabeth in front of projected images from the time period to which Levin had access. Meneghini and her acting partner—Bernadette Sefic, a CU �鶹ӰԺ BFA/acting graduate and recent MFA graduate of the Old Globe and University of San Diego Shiley Graduate Theatre Program—performed at universities and sometimes in community theaters, and in costumes designed by theater colleague Markas Henry.

“As the costume as story went on, Elizabeth is becoming more and more like a real person,” Meneghini says. “The portraiture that we have of her was largely staged by how her council and her parliament wanted her to look. We wanted this piece to be an opportunity to see Elizabeth as the woman, as the human, as someone audiences could relate to.

“Markas and I talked a lot about this costume coming apart, and he made this thing that’s close to 30 pounds—the costume is immense—that gradually sheds layers through the performance.”

Fringe opportunities

Two years ago, CU �鶹ӰԺ graduate Penny Cole, founder of Flying Solo! Presents, approached Meneghini about creating a solo show and put her in contact with a Scottish theater scholar who asked whether she’d be interested in performing at Edinburgh Fringe.

If you go

What: "Elizabeth I: In Her Own Words"

Who: Tamara Meneghini, associate professor in the CU �鶹ӰԺ Department of Theatre and Dance

When: 4 p.m. Saturday, Oct. 19

Where: Savoy Denver, 2700 Arapahoe St.

Learn more

Meneghini sought Levin’s expertise, as well as that of Denver-based theater guru Sabin Epstein, to craft a solo play from what began as lectures. The 55-minute play, for which Levin is credited as writer, is based on Elizabeth’s own writings. It eschews the projected images of the original duet performance—a lot of which featured the men in Elizabeth’s life—to create an intimate space between Elizabeth and the audience, Meneghini says.

She performed “Elizabeth I: In Her Own Words” several times in New York City before her 14 performances at Edinburgh Fringe, where it was a hit.

“People there are crazy about their royals,” Meneghini says with a laugh. “Elizabeth is not a popular monarch in Scotland; in fact, she’s almost an antagonist. So, when I first performed it in New York, people went nuts about it, but I didn’t think they were going to like it as much in Scotland, so that was a happy surprise.

“In fact, I went to do this photo shoot at Craigmillar Castle, where Mary Queen of Scots convalesced and planned her husband’s murder, and people were coming up to me—I was in full regalia—and saying, ‘Oh, Queen Mary, Queen Mary.’ So, I had to say, ‘No, I’m Elizabeth,’ and they’d run away.”

Thanks to the play’s reception at Edinburgh Fringe, Meneghini is now developing it into a full, 120-minute performance. She also will perform it Oct. 19 in the Denver Fringe Festival. And still, she says, there’s always more to learn about Elizabeth.

“One of my biggest takeaways (from performing at Edinburgh Fringe) was people came out of the show saying, ‘Oh, my gosh, I have a totally different perspective of her as a person. She wasn’t this awful woman, she really struggled with these decisions that she made,’” Meneghini says. “What I’ve learned in my own research with her is that she was a complicated person like we all are, didn’t take any of the decisions that she had to make in her life lightly. When I’m doing the show—whether it’s here, when I was in Edinburgh—I’m constantly reading more about her, and every day is bringing something new.”

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Actor and theater scholar Tamara Meneghini brings the long-ruling monarch to life in a solo performance that earned rave reviews at the recent Edinburgh Festival Fringe.

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Are modern politicians really making a deal with the devil?

Anonymous — Mon, 23 Sep 2024 06:00:00 +0000

Are modern politicians really making a deal with the devil? Anonymous (not verified) Mon, 09/23/2024 - 00:00

Chris Quirk

In an election season when accusations of ‘Faustian bargains’ are flying, CU �鶹ӰԺ scholar Helmut Müller-Sievers reflects on what that really means

Danish philosopher Søren Kierkegaard noted that “every notable historical era will have its own Faust.”

The current election season seems to have an abundance of them, judging by the frequent cries of “Faustian bargain” made by media pundits, candidates in races across the country and members of the opinion class. With the term so commonly used as Election Day approaches—generally as an accusation of having made a deal with the devil or of selling one’s soul—it seems fair to ask: Is this what Goethe meant?

Is claiming that a candidate made a Faustian bargain if they aligned themselves with a certain politician, voted a particular way or made certain stump-speech promises true to what the German author envisioned two centuries ago?

Helmut Müller-Sievers, a CU �鶹ӰԺ professor of German, notes that “the Faustian bargain always has to do with the value of our conscience.”

“The Faustian bargain always has to do with the value of our conscience,” says Helmut Müller-Sievers, a professor of German in the �鶹ӰԺ Department of Germanic and Slavic Languages and Literature. “You're basically saying, so long as I have created advantages for my family, created advantages for my political ideology, created advantages for my short-term goals in life, it will not bother me. I will be able to sleep.”

Müller-Sievers—whose academic focus includes the intersections of literature, science and engineering in the 18th and 19th centuries and the history of technology—teaches a course on Johann Goethe’s tragic play Faust, in which he also examines the motif of the Faustian bargain as it appears in literature.

A deal with the devil

According to Müller-Sievers, the mythical idea of the Faustian deal with the devil as we understand it today originated in Germany sometime around the beginning of the 16th century. Likely the first literary treatment is by Christopher Marlowe late in the 1500s.

“But already Marlowe situates the play in Germany,” Müller-Sievers explains. “There seems to be a sense that the Reformation might have emboldened people to make their own relationship with God and the devil, so there’s a little bit of polemics going on there.”

In Goethe’s rendition, Faust is a bitter academic who has been seeking truth and failing in his pursuit. “Nothing gives him satisfaction, and he falls into what we would today call a depression. He is a cynic,” Müller-Sievers says.

Faust meets the devil, who is in the form of a dog that soon transforms into the demon Mephistopheles, and they begin a debate over the price for Faust’s soul. “It's the banter of super clever people who have no values and are too highly educated. That was already a common criticism at the time—intellectuals who want to show their brilliance but have no inner core.”

The two soon agree to a contest: Mephistopheles will win Faust's soul if he is able to entice Faust into wanting to hold on to some experience or aspect of the world that he finds desirable or fulfilling. Faust is convinced at first that he can resist, but soon succumbs.

The story of Faust has inspired artists for centuries, including the etching Faust by Rembrandt van Rijn (left, ca. 1652) and a lithograph of Mephistopholes flying above the skyline (right) by Eugène Delacroix for an 1828 translation of Goethe's Faust.

“We use the term Faustian bargain, and we think there must have been some kind of decision, but it might well be a gradual sliding—small bargains you make along the way, and then can’t go back,” Müller-Sievers says.

“It is basically a question of whether we are able to push aside our moral qualms when we act. At a certain point, will they come and bite us, and make us change? Will our conscience ever rise up and force us to denounce compromises that we've made?”

Müller-Sievers cites the example of German actor Gustaf Gründgens, whose career is portrayed in the Oscar-winning 1981 film Mephisto by Hungarian director István Szabó. “It’s bizarre. He was one of the great actors of his time, and maybe the greatest actor ever to play Mephisto on the stage,” he says.

“But he made a deal with the Nazi regime so he could continue to work in theater.” Gründgens continued playing Mephisto in performance in Germany in the run up to and even during World War II.

Sometimes, as in Gründgens’ case, one makes a deal with a reigning power rather than an individual, Müller-Sievers notes, and sometimes a large percentage of a population makes a deal.

“In the former East Germany, the GDR, you had an oppressive regime, and many people thought, ‘Well, I have to cut a deal with this system to get a job or get ahead,’ and they started snooping on other people,” Müller-Sievers explains.

“There were conscientious objectors, but it was embarrassing that so many people consented to this, and it was embarrassing later when all the documents came out, and you could read all the terms of the bargains people had made.”

Top image: Faust und Mephisto beim Schachspiel (Faust and Mephisto Play Chess), artist unknown

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In an election season when accusations of ‘Faustian bargains’ are flying, CU �鶹ӰԺ scholar Helmut Müller-Sievers reflects on what that really means.

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Balancing yoga traditions with modern wellness requires flexibility

Anonymous — Fri, 20 Sep 2024 20:28:37 +0000

Balancing yoga traditions with modern wellness requires flexibility Anonymous (not verified) Fri, 09/20/2024 - 14:28

Cody DeBos

CU �鶹ӰԺ scholar Loriliai Biernacki reflects on the differences between ancient yoga and yoga as it’s practiced today during Yoga Awareness Month

As yoga enthusiasts across the country celebrate Yoga Awareness Month in September, it’s difficult to ignore how much the practice has evolved—especially in the West. Yoga, born as a spiritual and meditative practice rooted in centuries-old Indian traditions, has become a global phenomenon often centered on physical health and wellness.

A 2022 study by the Centers for Disease Control found that almost 17% of U.S. adults 18 or older had practiced yoga in the preceding 12 months, and about 57% of those who did incorporated meditation into their practice.

But even when it incorporates meditation and other mindfulness practices, how closely does modern yoga resemble the practice that was born millennia ago in India? Loriliai Biernacki, a �鶹ӰԺ professor of religious studies who teaches a course called Yoga: Ancient and Modern, notes that what is taught in studios now may bear varying degrees of resemblance to yoga’s origins.

Loriliai Biernacki, a CU �鶹ӰԺ professor of religious studies, notes that what is taught in studios now may bear varying degrees of resemblance to yoga’s origins.

Mental mastery to physical wellness

Yoga’s traditional roots go far beyond the stretches and poses seen in most local studios and fitness centers today. According to Biernacki, the earliest yoga practitioners focused on mental mastery and spiritual growth. Historical documents also point to beliefs that accomplished “yogis” could acquire magical powers to read another person’s mind or transform objects.

“The goals are essentially what we might think of as enlightenment,” Biernacki explains, “with the terms ‘mokṣha,’ ‘kaivalya,’ and ‘nirvāṇa,’” which are Sanskrit words that describe yoga’s founding ideals of liberation, detachment and karmic release.

In its original context, yoga emphasized learning to control the mind and finding peace rather than achieving physical fitness.

As described in the Sir Edward Arnold translation of the Bhagavad Gita, the yogi is one who:

Sequestered should he sit,
Steadfastly meditating, solitary,
His thoughts controlled, his passions laid away,
Quit of belongings. In a fair, still spot
Having his fixed abode,--not too much raised,
Nor yet too low,--let him abide, his goods
A cloth, a deerskin, and the Kusa-grass.
There, setting hard his mind upon The One,
Restraining heart and senses, silent, calm,
Let him accomplish Yoga, and achieve
Pureness of soul, holding immovable
Body and neck and head…

However, modern yoga, especially as practiced in the West, has shifted its priorities.

“Yoga practice today is very much focused on bodily health if one goes to a studio to practice yoga,” Biernacki notes. Poses, or āsanas, are now central to most yoga classes, and the practice is commonly associated with physical wellness, flexibility and relaxation.

“Āsana is not something we find in yoga as a practice in the early part of the first millennium, but by about the 12th century or so, we do begin to see an incursion of emphasis on a variety of different bodily postures in the practice of yoga,” Biernacki explains.

This shift is no accident. Commercialization has played a significant role in transforming yoga from a spiritual journey into a global wellness trend. Biernacki points to the influence of marketing and the rise of yoga as a booming industry as key factors driving this shift.

“Of course, commercialization has played an outsized role. A great resource on this score is Andrea Jain’s book on yoga transformation in the modern period, Selling Yoga,” she says.

While physical health is undoubtedly valuable, evolving goals raise the question of whether modern yoga has strayed too far from its roots. The answer may lie in how individuals choose to practice yoga and whether there is room to reconnect with its original mental and spiritual aspects, Biernacki says.

The Pashupati Seal, dated to about 2500 BCE and discovered in 1928 in the Mohenjo-daro area of what is now Pakistan, is considered one of the first yogic depictions. (Photo: Wikimedia Commons)

Appropriation or evolution?

As yoga’s popularity has grown in the West, so too have discussions around cultural appropriation. Some question whether certain modern adaptations of yoga—those that have been commercialized or stripped of their spiritual components—disrespect the practice’s origins.

Biernacki says she believes the issue isn’t black and white: “It’s probably a mix of cultural appropriation and some modicum of paying homage to the insight and wisdom that we find in these traditions of yoga.”

On one hand, the commercialization of yoga can lead to a superficial understanding of a practice with centuries of spiritual depth, she says. Western yoga classes and studio branding may use terms like namaste or chakra without studying their spiritual significance.

On the other hand, Biernacki notes that some modern yoga instructors do attempt to preserve the roots of the practice. “I do find it interesting that there are a number of teachers who are, in fact, emphasizing connecting yoga with its literary roots in a way that does take the history of yoga seriously,” she says. “Especially popular is the classic text ‘Patañjali’s Yoga Sūtra,’ which is keyed into yoga as a way of mastering the mind.”

Ultimately, the question of cultural appropriation depends on how individuals and studios approach the practice, Biernacki says. For some, yoga may be a mindful homage that embraces historical context while adapting to modern needs. For others, yoga may simply be a brand or a lifestyle with beautiful aesthetics.

Balancing act

As yoga continues to evolve, it’s unclear whether modern adaptations will dominate or if instructors and practitioners alike will seek a return to its traditional roots. Biernacki suggests that both trends will likely coexist.

“I suspect that traditional practices will probably be more popular, but there will be some modern adaptations,” she says.

This resurgence echoes a broader cultural shift towards mindfulness, as an ever-growing body of research supports the benefits of yoga for conditions ranging from depression to back pain to cancer.

The rise of interest in traditional practices could signal a desire to reconnect with yoga’s deeper spiritual roots. Biernacki points out that many instructors already strive to bring these philosophies into their practice and remind students that yoga is about more than just physical postures.

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CU �鶹ӰԺ scholar Loriliai Biernacki reflects on the differences between ancient yoga and yoga as it’s practiced today during Yoga Awareness Month.

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Flying with the man behind the capes

Anonymous — Wed, 18 Sep 2024 18:44:03 +0000

Flying with the man behind the capes Anonymous (not verified) Wed, 09/18/2024 - 12:44

Doug McPherson

CU �鶹ӰԺ alumnus Patrick Hamilton discusses his new book on influential comic book artist George Pérez during Hispanic Heritage Month

When alumnus Patrick Hamilton was growing up, he, like many kids, found comfort in comic books. “I’m an almost lifelong comics fan, and specifically a fan of ‘Avengers’,” Hamilton says.

As Hamilton continued enjoying comics and learning more about the people behind them, he eventually came across the name George Pérez. It’s a name you may not immediately recognize, and that’s a key point Hamilton makes in his new book, George Pérez, which hit shelves earlier this year.

“The main argument of the book [is] that Pérez had a larger impact on comics than he’s generally been given credit for,” says Hamilton, an English professor at Misericordia University in Pennsylvania who earned his PhD in English at the �鶹ӰԺ in 2006.

CU �鶹ӰԺ alumnus Patrick Hamilton (PhDEngl'06), a lifelong comics fan, highlighted the groundbreaking work of Marvel Comics and DC Comics artist George Pérez in an eponymous new biography.

But in the comic book world, the name George Pérez and his work turn heads—not just for his impact on the art, style and story structure of comics, but because he was one of the first Hispanic artists to become a major name in the industry and helped pave the way for greater diversity in the field.

Pérez, who worked both as an artist and writer starting in the 1970s, played a significant role in blockbuster series such as Fantastic Four and The Avengers for Marvel Comics. In the 1980s, he created The New Teen Titans, which became a top-selling series for publisher DC Comics. And he developed DC Comic's landmark limited series Crisis on Infinite Earths, followed by relaunching Wonder Woman.

Hamilton says Pérez is also “pretty synonymous” with large event titles, most prominently DC Comic’s Superman revamp in 2011 and Marvel’s Infinity Gauntlet.

“And he developed a reputation for a dynamic and hyper-detailed style, particularly in terms of the number of characters and details he’d put into a page, that was highly regarded and ultimately influential in the … 1970s and 1980s and beyond.”

Hamilton says he sees his book as attempting to expand Pérez’s legacy.

“Despite his acclaim and prominence, he hasn’t really been seen as an artist that contributed to the style and genre of comics in ways artists before him … are seen,” he says. “I argue in the book that Pérez made contributions to the style of comics, not only in the layout of the page and what effects that could achieve, but especially in his way of building what we would call the story world around the characters, where he embraced the possibilities for the fantastic within comics.”

Paving the way

The book also speaks to Pérez’s interest in representations of race, disability and gender, the latter of which Hamilton says Pérez consciously strove to improve in his art over his career.

Artist George Pérez was reknown for his work with both DC Comics and Marvel Comics. (Photos: DC Comics, left, and Marvel Comics, right)

Hamilton adds that he believes a lot of other Black, Indigenous and artists of color working today likely see Pérez as “an influence and as carving out a space” for them within the industry.

“I think you can look at the significant number of Hispanic and Latinx creators working in comics today—many of them as artists—and see them as following, in some cases quite consciously, in Pérez’s footsteps.”

He adds that Pérez did much to help define the look and feel of modern superhero comics in the 1970s and 1980s, as did another Latino artist, José Luis García-López.

“Garcia-Lopez, who, among other things, created the official reference artwork for DC Comics that is still much in use today. So, you have two Latino creators working in the late 20th century, when the comic book industry was even more predominantly white than it is today, and shaping the look of it.”

Hamilton says one of the more interesting findings about Pérez that meshes with how Pérez has been overlooked is a kind of “invisibility or transparency” in his art.

“It [his art] is never meant to overshadow and … is always in service to the story or narrative. What surprised me is how much this was a conscious choice on Pérez’s part, that he never wanted his art to draw attention to itself in a way that was detrimental to the overall storytelling. It’s kind of ironic, and … surprising, because Pérez does have one of the most recognizable styles in comics, but his goal as an artist was always to do what’s best for the realization of the story first.”

Perez died in 2022 at age 67. You can see examples of his Marvel Comics art here and his DC Comics art here.

Top image: A group scene of DC Comics characters drawn by George Pérez (Photo: DC Comics)

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CU �鶹ӰԺ alumnus Patrick Hamilton discusses his new book on influential comic book artist George Pérez during Hispanic Heritage Month.

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Professor Mary Rippon led a secret, separate life

Anonymous — Tue, 17 Sep 2024 21:31:39 +0000

Professor Mary Rippon led a secret, separate life Anonymous (not verified) Tue, 09/17/2024 - 15:31

Silvia Pettem

In book, CU �鶹ӰԺ alumnus Silvia Pettem details a little-known chapter of the trailblazing faculty member's story

As a student at the University of Colorado, I often passed through the Mary Rippon Outdoor Theater on the way to my classes. I had assumed Rippon was a woman associated with the theater department, but that was not so. I later learned that she had arrived in �鶹ӰԺ in 1878 and became the university's first female professor. After her death in 1935, then-President George Norlin named the theater (then under construction) in her memory.

Publicly, "Miss Rippon" was highly respected by students and faculty. However, unknown to Norlin and the others, she had a secret private life that would have been considered scandalous, had she not hidden her husband and daughter behind a Victorian veil of secrecy.

The long-concealed truth was revealed in 1986 when an elderly man donated Rippon's diaries, account books, and journals to the university's archives. He was Rippon's grandson and revealed that she had had a romantic relationship with one of her students, became pregnant in 1888, secretly married, and took a year's sabbatical in Germany to give birth.

CU �鶹ӰԺ alumnus and historian Silvia Pettem (left) wrote Separate Lives about a little-known chapter in the life of influential CU �鶹ӰԺ Professor Mary Rippon, namesake of the campus theater.

At the time, there was no rule concerning teacher-student relationships, as it never occurred to anyone to implement one. Rippon was 37, and her husband, Will Housel, was 25. When the baby, Miriam, was born, Housel was still at CU in his senior year.

After graduation, Housel joined his wife and daughter in Europe before Rippon returned to �鶹ӰԺ and continued to teach as if nothing in her life had changed. Housel and Miriam remained in Europe, where he attended graduate school. Initially, Miriam was placed in a series of orphanages. At the age of 4, she was taken to Rippon's extended family in Illinois.

At the time, Victorian-era society expected women with children to be supported by their husbands. If a professional woman married, she would have been accused of taking a job away from a man with a family to support. Rippon had to completely separate her public and private lives in order to keep her job. She continued to teach for 20 more years.

As a revered pioneer woman educator, Rippon appears to have valued career over family, but she may have, instead, realized that she needed to work to financially provide for her daughter's care.

Eventually, Rippon and Housel divorced. Housel remarried when Miriam was 8 years old and provided his daughter a home, but he lacked an adequate income. On a salary less than her male colleagues, Rippon continued to support her daughter, as well as her divorced husband, his second wife, and, eventually, their four children!

Meanwhile, Rippon was a role model for her female students, a full professor, and even chair of the Department of German language and literature. Except for confiding in two close friends, she took her secret to her grave in �鶹ӰԺ's Columbia Cemetery.

For decades, the only tangible evidence on the CU campus of Rippon's secret life was ivy that Housel had planted outside of Old Main, where Rippon held her classes. His sentiment was obvious in a poem he penned his senior year that read in part, "But the ivy is for friendship and it seemeth best of all; 'tis the rose of love and petals that will never fade or fall."

Silvia Pettem’s In Retrospect column appears once a month in the Daily Camera, where this first appeared. She can be reached at silviapettem@gmail.com. She will be signing copies of Separate Lives: Uncovering the Hidden Family of Victorian Professor Mary Rippon (Lyons Press, 2024) at the �鶹ӰԺ Bookstore on Oct. 22.

In book, CU �鶹ӰԺ alumnus Silvia Pettem details a little-known chapter of the trailblazing faculty member's story.

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