Dante per stranieri

A copy of a watercolor by Dante Gabriel Rosetti depicting the lovers Francesca da Rimini and Paolo Malatesta, the subject of my first composition in L’Inferno per stranieri.

I’m taking an Inferno per stranieri course on Zoom over winter break — it’s reading Dante’s Inferno over twelve weeks in the original/sometimes in modern Italian or English translation and discussing it in intermediate-to-advanced level Italian. My writing has noticeably improved although I find speaking frustrating (I’m much smarter in other languages!) and I’m still firmly in the intermediate-level camp as I don’t feel like I have good control over the subjunctive yet or any kind of handle on which prepositions go with which verbs. Also, in a class that’s for stranieri who aren’t necessarily spagnoloparlanti, I can get away with hispanisms in my vocabulary that someone teaching primarily Spanish-speakers would call me on; so I just need to be a bit more attentive to not letting myself get away with not looking up the real Italian word after I’ve made something up on the basis of Spanish. Be that as it may, it’s exactly the kind of language class I like because it integrates interesting content with language learning and practice rather than treating those two things like they are separable.

Teaching in Quarantine, Part 1 of ?

I’m planning to do my coronavirus semester posting here rather than on FB, even though the latter is the more usual space for academic discussion. (Although maybe there’s a chance that the current crisis will breathe some life back into the academic blogging community?) This feels like a singular moment, and so I don’t want my posts to disappear down into the bowels of the FB juggernaut once this is over. So: 

I’m teaching a lecture course in NYU’s core curriculum this semester: Cultures and Contexts: Muslim Spain. I have 45 students (which is on the small end of this kind of course, which typically enroll 60-120, although spring enrollments are often smaller) who, as of last week, have been scattered to the four corners of the planet. 

I’ve adapted my course (as well as my upper division seminar) to accommodate the new situation, which has students in many time zones and with new family and work responsibilities; but also, in honestly, I was interested in adapting the course in such a way as to allow myself to maximize my writing time for the rest of the semester. (The first half of this semester wasn’t as productive as I would have liked, both because of an early-morning teaching schedule that wasn’t great for my night owl self’s circadian rhythm and because of family and student-related challenges that were taking up a lot of of headspace.)

I had my students fill out a short questionnaire to make sure that they would all be able to attend the adapted lectures and discussion sections. The final question was: “Are there any particular challenges you are facing as a result of the coronavirus situation that you would like your professor and TA to be aware of?” 

I have multiple students returning home to China, facing a two-week quarantine upon arrival in-country, in which they have no guarantee of internet access. I responded to the first student who flagged that situation in their questionnaire and asked what to do to keep up as follows:

The student responded and asked whether I could just record my lectures instead so that they could watch them once they’re out of quarantine.

So here’s my question: Do I have to record my lectures? I’m super uncomfortable with it. Because these are lectures from notes given in a fluid situation that I don’t really control rather than prepared, read papers given in a more staid conference context, I’m worried that if I say something really stupid or misspeak or make a mistake, that it’ll be out there on the internet forever. But given the current situation, do I just need to get over myself and record the lectures?

Lone Medievalist Challenge: Play

A few years ago because of weird end-of-term makeup scheduling, I found myself with two three-hour meetings in a week with my first-semester freshmen rather than the usual one three-hour meeting. It was long for them once a week, and I knew that neither they nor I was going to make it through two of those in the last week of the semester. So instead, for the final class meeting I had them play medieval-themed board games and evaluate some of the historical ideas that seemed to underpin them. That’s them playing The Alhambra: The Board Game. (There’s also Don Quijote: The Board Game and Toledo 1085: The German Card Game.)

This year, I’m going to set aside a day for students in my history of Spanish class to play De Vulgari Eloquentia: The Board Game. It’s absurdly complicated and took three PhD-hours to set it up the first time I tried to test play it.  I’ll have had them read and compare the prologues to that text and to Antonio de Nebrija’s Gramatica de la lengua castellana. Then I’ll have them play and evaluate the game as a tool for conveying ideas about language to a general public and then assign them to design their own game (or app) to do the same thing for either the Nebrija text or an Alfonsine one.

Onomastics and Minimum Standards

“If my students come away from my class and four years later remember nothing about the Middle Ages but only remember when they pick up a newspaper that not everyone with an Arabic name is Muslim, then that’s enough.”

I’ve said it often enough to colleagues, thought I’d never say it directly to students because I wouldn’t want them to know what my absolute bare minimum standard is — I always want them to exceed it rather than shoot straight for it. It’s a topic that most often comes up in the course of discussing which way we err when we simplify the complex narrative of Andalusi cultural history for introductory-level undergraduates: for the sake of the narrative do we make it seem rosier than the historical reality or more conflictive than it? In an ideal world we would do neither but even a simplified narrative is, realistically, confusing for students who are not yet primed for historical complexity and a narrative helps. I defend my kind of simplification with the logic of what I want students to walk away with. At the end of the day, if they remember only one thing from my class, what should that be? I tend to simplify in the rosy direction because I want my students to remember the cross-cultural pollination that proximity yields; and it is is easier for them to understand that in those rosy terms even if it is equally close conflict that brings about cultural flourishing.

A gruesome tragedy is playing itself out in the local — and even international — headlines: a judge, the first African-American woman to serve on the New York State  Court of Appeals appears to have committed suicide by walking into the Hudson River and letting go. It is by all accounts a tragedy; those who knew her say she was a compassionate person and a sharp legal mind. But an error crept into the first versions of the news reports and has since been replicated worldwide, even though it has been corrected at its source: the judge, whose surname was Abdu-Salam, was initially described as Muslim even though she was not.

https://twitter.com/el_pais/status/852948341491191812

A correction explains the source of the error:

C9ZOq8jVoAA7kuE.jpg_large

Her name.

With very rare exceptions, my students are not going to go on to become medievalists. Some of them take my class because they have a genuine, if lay, interest in the subject, some for reasons of heritage, some because they’ve been to Spain and have seen the Alhambra and don’t quite realize how complex and difficult the class is that they’re about to take, some because they did well in AP European History and don’t know how different my narrative and my methodologies will be; but by far and away, the most common reason I hear from students for taking my class (especially the very introductory, freshman-level lecture class) is: “It fit my schedule.” I have some students who are there because they care about the material, but a much larger percentage who are there to fulfill a requirement. I know that the smaller group will understand the complexities, ask great questions, and retain a lot of the details; but again, trying to be realistic, after the final exam most of them will remember only one big takeaway from my class, and that’s it. (Do I wish it were different? Sure. Just about every day. But you work with what you’ve got.) For those students, as heretical as it may be for me to say so, I’m not sure that the takeaway should be strictly medieval.

And so for me, that takeaway is this: language, art, and literature have no confession. That’s all.

If my students can come away from my class knowing that Christians and Jews can also have abds and ibns and als in their names, that’s enough. It’s enough so that when they are the obituary-writers and the investigative reporters who are shaping public perception and defining the news that is fit to print (nevermind when they are the ones setting immigration policy or dropping bombs), they won’t make silly mistakes based on unfounded biases about what kinds of languages and what kinds of names belong to what kinds of religions.