News

World War II vet, CU prof joins event marking end of that war

Rachel Sauer — Fri, 08 Nov 2024 15:17:11 +0000

World War II vet, CU prof joins event marking end of that war Rachel Sauer Fri, 11/08/2024 - 08:17

Clint Talbott

Richard Jessor, CU Boulder professor emeritus, to join Miami’s New World Symphony this weekend to be interviewed by historian James Holland

Next spring marks the 80^th anniversary of the end of World War II and the Holocaust, and Miami Beach’s New World Symphony is performing two concerts this weekend that will feature pre-concert interviews with Richard Jessor, a University of Colorado Boulder professor emeritus of behavioral science who fought with the U.S. Marines on the island of Iwo Jima.

Conductor Lidiya Yankovskaya and best-selling historian James Holland will team up for a commemorative concert honoring veterans and the “global sounds of resilience.”

The symphony characterized the event this way: “From the beaches of Normandy and Iwo Jima to the skies of the Tuskegee Airmen, explore the global fight for democracy through music that commemorates and reflects. Soprano Emily Magee makes her NWS debut in the pensive and poignant Four Last Songs.”

In pre-concert appearances on Saturday, Nov. 9, and Sunday, Nov. 10, Holland will interview Jessor about his experiences in the war.

Jessor, who will turn 100 this month, said the attempt to use music to illuminate “such deeply disturbing human experiences as war and the Holocaust is, to my mind, an admirable enterprise deserving support.”

Additionally, he said, the event should underscore the need for societies to do everything possible to avoid such calamities in the future. “And finally, perhaps, as one of the diminishing cohort of WWII combat veterans still alive, I feel a continuing responsibility to be a voice against the madness of wars.”

Jessor noted that the senior vice president for artistic planning and programs of the New World Symphony is Martin Sher, son of Boyce Sher and Daniel Sher, dean emeritus of CU Boulder’s College of Music.

Jessor met Martin Sher in July when he was visiting his parents in Boulder. At that meeting, Sher discussed his plan to devote the 2024-25 programs to commemorating the end of World War II and the Holocaust, and he wanted to present music that would provide an interesting and inspirational commentary.

Examples include Shostakovich’s Leningrad Symphony, written when the city was under siege, and the music for the film Saving Private Ryan, written by John Williams. Sher also wanted to learn more about Jessor’s combat experience as a Marine in the battle for Iwo Jima.

At the time, Sher was consulting with Holland, and Holland interviewed Jessor via Zoom on his blog. Later, Sher conceived the idea of the pre-concert interviews and asked Jessor to have those conversations with Holland in person. “Of course, I agreed,” Jessor said.

This weekend’s Veterans Day concerts are free to veterans. Saturday’s concert is available to stream live and will be available online after the performance. The streaming option is free to anyone with an email address who registers at this link. The full concert program is at this link.

Jessor’s pre-concert interview will not be streamed, however.

Did you enjoy this article? Subcribe to our newsletter. Passionate about behavioral science? Show your support.

Richard Jessor, CU Boulder professor emeritus, to join Miami’s New World Symphony this weekend to be interviewed by historian James Holland.

Off

Traditional

White

Above: Richard Jessor at his home in Boulder. CU Boulder photo by Glenn Asakawa.

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 Boulder 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 University of Colorado Boulder 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.

About 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.”

Did you enjoy this article? Subcribe to our newsletter. Passionate about history? Show your support.

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

Off

Traditional

White

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 Boulder 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 University of Colorado Boulder 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 University of Colorado Boulder 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 Boulder, 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 Boulder, 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.

Did you enjoy this article? Subcribe to our newsletter. Passionate about English? Show your support.

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

Off

Traditional

White

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 Boulder historian serving second term in position, focusing on an accurate and comprehensive portrayal of Colorado’s history

William Wei, a University of Colorado Boulder 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 Boulder 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.”

Did you enjoy this article? Subcribe to our newsletter. Passionate about history? Show your support.

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

Off

Traditional

White

Andrés Montoya-Castillo earns 2024 Packard Fellowship for Science and Engineering

Anonymous — Tue, 22 Oct 2024 13:43:24 +0000

Andrés Montoya-Castillo earns 2024 Packard Fellowship for Science and Engineering Anonymous (not verified) Tue, 10/22/2024 - 07:43

CU Boulder chemist will use the five-year support to study tailoring cycles affecting energy flow in solar energy conversion

Andrés Montoya-Castillo, an assistant professor in the University of Colorado Boulder Department of Chemistry, has been awarded a 2024 Packard Fellowship for Science and Engineering.

The fellowships, given by the David and Lucille Packard Foundation, are awarded to innovative early-career scientists and engineers, who receive $875,000 over five years to pursue their research.

“These scientists and engineers are the architects of tomorrow, leading innovation with bold ideas and unyielding determination,” said Nancy Lindborg, president and chief executive officer of the Packard Foundation, in announcing the 2024 awards. “Their work today will be the foundation for the breakthroughs of the future, inspiring the next wave of discovery and invention.”

Montoya-Castillo is a theoretical chemist who leads a lab that encompasses multidisciplinary skills spanning physical chemistry, condensed matter physics and quantum information science.

Explaining his research that the fellowship will support, Montoya-Castillo notes, “The world’s growing population faces looming food shortages and the pressing need for cheap and sustainable energy sources. Reliable conversion of sunlight–our most abundant energy source–into fuel can address these threats. However, reliable energy conversion requires knowing how to tailor, at an atomic level, photoprotection cycles limiting food production and energy flow in solar cells that convert sunlight into fuel.”

He adds that he “will harness the power of generalized master equations to develop efficient, atomically resolved theories and analysis tools that cut the cost of experiments needed to reveal how to employ chemical modifications to manipulate photoprotection cycles in plants and the photocatalytic activity of metal oxides. Our developments will offer transformative insights into fundamental excitation dynamics in complex materials, enabling the boosting of photosynthetic crop production and optimization of environmentally friendly semiconductors that split water into clean fuels.”

Last year, Montoya-Castillo was named a U.S. Department of Energy Early Career Research Program scientist and earlier this year received the CU Boulder Marinus Smith Award, which recognizes faculty and staff members who have had a particularly positive impact on students. He received his BA in chemistry and literature from Macaulay Honors College, CUNY, and his PhD in chemical physics from Columbia University.

“I’m honored and thrilled to be part of the Packard Fellows class of 2024!” Montoya-Castillo says. “With the help of the Packard Foundation's funding, I look forward to finding new ways to measure and control nonequilibrium energy flow for human use.”

[video:https://www.youtube.com/watch?v=W3RtY7QKzxU&t=6s]

Did you enjoy this article? Subcribe to our newsletter. Passionate about chemistry? Show your support.

CU Boulder chemist will use the five-year support to study tailoring cycles affecting energy flow in solar energy conversion.

Off

Traditional

White

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 Boulder 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 Boulder 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 University of Colorado Boulder 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.

Did you enjoy this article? Subcribe to our newsletter. Passionate about philosophy? Show your support.

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

Off

Traditional

White

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 University of Colorado Boulder 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 Boulder.

“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 Boulder 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 Boulder 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.

Did you enjoy this article? Subcribe to our newsletter. Passionate about history? Show your support.

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

Off

Traditional

White

ADHD and reading disability often occur together, study finds

Anonymous — Thu, 17 Oct 2024 14:56:38 +0000

ADHD and reading disability often occur together, study finds Anonymous (not verified) Thu, 10/17/2024 - 08:56

Daniel Long

It’s surprisingly common for children to have both conditions, CU Boulder researcher Erik Willcutt argues in a recently published paper

According to a paper coauthored by Erik Willcutt, professor of psychology and neuroscience at the University of Colorado Boulder and faculty fellow of the Institute for Behavioral Genetics, many children with attention-deficit/hyperactivity disorder (ADHD) also have reading disability, and vice versa.

“A lot of kids tend to have both learning and attentional difficulties,” says Willcutt, a clinical child psychologist by training. “Similarly, many children with reading disability also experience broader learning difficulties in areas such as math and writing.”

This research marks a shift in the clinical understanding of learning disabilities.

In recently published research, Erik Willcutt, a CU Boulder professor of psychology and neuroscience, finds that many children with attention-deficit/hyperactivity disorder also have reading disability, and vice versa.

“Twenty-five years ago, we all went into an assessment with a child thinking we had to figure out what the diagnosis is.”

“The” diagnosis—singular.

“Back then, it was always kind of surprising if a child met criteria for more than one diagnosis. We’d think, ‘Maybe we’re just wrong, and we’ve got to figure out which diagnosis is correct.’”

Yet, as research has progressed, this either-or thinking has transformed into something more like both-and thinking.

“We’ve realized over time, there are a lot of kids that really do seem to have more than one diagnosis, and that in many cases both diagnoses would benefit from treatment.”

When one diagnosis complicates another

The phenomenon of multiple diagnoses for one person is called comorbidity, a term “that came out of classic medical literature where people could have more than one illness at the same time,” says Willcutt. “For example, heart disease frequently co-occurs with other physical conditions such as diabetes, and this may mean that treatment of the heart disease is complicated by the diabetes or another co-occurring illness.”

It’s the same idea with reading disability and ADHD. “That comorbidity suggests that a child's difficulties extend beyond what they would be if that child had just reading disability.”

Reading disability, Willcutt points out, doesn’t simply mean difficulty reading. It means unexpected difficulty reading, with the expectations being based on a child’s education.

So, a child who struggles to read but hasn’t had an adequate reading education may not have reading disability. Perhaps that student struggles because he or she hasn’t grown up around books, or hasn’t been read to, or hasn’t been given adequate reading instruction. For a student such as this, difficulty reading may not be a disability so much as the natural consequence of a less-enriched reading environment.

It's the children who have had an adequate education and still underachieve in reading who may have reading disability. And if those kids also happen to have ADHD, their reading disability will likely be harder to manage, just as heart disease becomes more challenging for someone who also has diabetes.

“Individuals with more than one disorder often differ in important ways from individuals with a disorder in isolation, with the comorbid group frequently experiencing greater symptom severity, more extensive and severe functional and neurocognitive impairment, and poorer long-term outcomes,” Willcutt and co-author Stephen A. Petrill state in their paper.

Externalizing and internalizing behaviors

Researcher Erik Willcutt notes that reading disability doesn’t simply mean difficulty reading. It means unexpected difficulty reading, with the expectations being based on a child’s education.

There is a range of behaviors associated with reading disability and ADHD, Willcutt explains, some of which are “externalizing” and some of which are “internalizing.”

Externalizing behaviors are those that children express outwardly—“things like aggression, delinquency or conduct problems,” says Willcutt—whereas internalizing behaviors “are more internally focused—so if you feel anxious or you feel depressed or withdrawn.”

Willcutt says that reading disability and ADHD frequently co-occur with both internalizing and externalizing behaviors, but the specific profile varies among children. One student with comorbid ADHD and reading disability may continually show up late to school and disrupt class, whereas another student with the same diagnoses may be quiet and anxious.

“And there are some different behavior clusters that seem to really matter,” Willcutt adds. “The kids who have reading disability and ADHD along with early aggressive or delinquent behaviors tend to be a subgroup that is at higher risk for more severe antisocial behaviors during adolescence. On the other hand, students who have ADHD and reading disability along with internalizing symptoms often show pronounced difficulties in the classroom because they are really anxious about their academic performance.”

Assessment and treatment

Willcutt says that one key takeaway from his and Petrill’s study is that comorbidity matters and is much more common than previously thought. “At least 25% of kids who have ADHD have a learning disability, which is much higher than we would expect by random chance.”

Willcutt therefore hopes those who read his and Petrill’s study, particularly clinicians, adjust their assessment practices in a way that addresses the potential for comorbid diagnoses.

We’re at the point of saying when a child has ADHD and reading disability, both conditions really warrant interventions. Rather than trying to decide which is more important, we should really target both of them by providing the optimal intervention for reading disability and the optimal intervention for ADHD.”

“If you’re assessing learning disabilities, it’s really important to also assess whether a child has attention problems, anxiety or conduct difficulties along with that. For clinicians who specialize in the assessment of ADHD, it's critical to include a screening measure to determine whether the child may also have learning problems. Our results suggest that it may matter quite a bit if they have a comorbid diagnosis.”

For the field more broadly, Willcutt hopes that his and Petrill’s work prompts other researchers to study treatments for comorbid learning disabilities and attentional difficulties.

“We’re at the point of saying when a child has ADHD and reading disability, both conditions really warrant interventions. Rather than trying to decide which is more important, we should really target both of them by providing the optimal intervention for reading disability and the optimal intervention for ADHD.”

In other words, if a child has both reading disability and ADHD, treating only one will likely have little to no effect on the other.

“Reading intervention might really help with the reading, but it may not address some of the other concerns that are also getting in the way for that child.”

Did you enjoy this article? Subcribe to our newsletter. Passionate about psychology and neuroscience? Show your support.

It’s surprisingly common for children to have both conditions, CU Boulder researcher Erik Willcutt argues in a recently published paper.

Off

Traditional

White

Family raises funds for Cystic Fibrosis Foundation by pairing with CU Buffalo Bicycle Classic

Anonymous — Wed, 16 Oct 2024 14:49:14 +0000

Family raises funds for Cystic Fibrosis Foundation by pairing with CU Buffalo Bicycle Classic Anonymous (not verified) Wed, 10/16/2024 - 08:49

Bradley Worrell

They ride for 5-year-old Cora Beaver, who was diagnosed with the illness shortly after birth

When David Beaver and his 9-year-old daughter, Brenna, crossed the finish line of the Buffalo Bicycle Classic in September, they were met with the sounds of cowbells ringing and family members loudly cheering.

It was Brenna’s first time to do the 10-mile Little Buff ride, so it was special in that respect, but beyond that, every Buffalo Bicycle Classic ride for the past five years has felt especially rewarding for the Beaver family, which has spearheaded efforts to field a group of riders for Team Cora Force to raise money for the Cystic Fibrosis Foundation.

Cora is the name of David and Brittany Beaver’s youngest daughter, age 5, who was diagnosed with cystic fibrosis in 2019, just two weeks after her birth.

Cora (left) and Brittany Beaver (Photo: Beaver family)

Cystic fibrosis (CF) is a rare inherited disorder that can cause severe damage to the lungs, digestive system and other organs. CF affects the cells that produce mucus, sweat and digestive juices, which are normally thin and slippery. However, in people with CF, a defective gene causes the secretions to become sticky and thick, plugging up tubes, ducts and passageways—especially in the lungs and pancreas.

In years past, many children born with CF did not survive into adulthood. And while there is no cure for the disease, lifespans for children today with CF have increased greatly, thanks to medical advances and disease management efforts, according to the Mayo Clinic.

Brittany Beaver says receiving Cora’s diagnosis was tough on her entire family.

“Our faith has gotten us through all the hard moments. Also, staying connected to our family and community and the CF Foundation has been instrumental in helping us through the ups and downs of the disease,” she says.

Raising money for a cure

Beaver says it was her father-in-law, Dave Beaver, who spearheaded Team Cora Force as a fundraiser, driven by a passion to raise money to find a cure for his granddaughter.

“In 2019, he rallied literally everyone he knew—and continues to do so—to ride for Cora. He sends emails, has meetings and sends out texts often to remind people and invite them,” she says.

In other parts of the country, the CF Foundation has its own organized rides to raise funds to find a cure for CF, but Beaver says the Rocky Mountain chapter discontinued its annual ride around the time of COVID. So, Dave Beaver organized a group of his friends to ride in the Buffalo Bicycle Classic, with donations riders raise benefiting the CF Foundation, she says.

“My mother-in-law (Doreen Beaver) actually worked at the university for 30-plus years, so we have strong roots at CU, and that’s why we wanted to do the ride there,” Beaver says. “Plus, it’s a great ride, we love the area, and because of the location it was easy for (the riders) to be able to attend.”

Cora Beaver on her scooter at the Buffalo Bicycle Classic (Photo: Beaver family)

Organizers of the Buffalo Bicycle Classic have allowed the CF Foundation to have a booth at the event every year, which Beaver says has been a great way raise awareness about CF, efforts to find a cure and Team Cora Force.

As for the riders on Team Cora Force, Beaver says they are easy to spot, thanks to their distinctive purple and gold bike jerseys with the words “Breathe In” on one side and “Breathe Out” on the other. She says riders participate in all levels of the Buff ride, from the 10-mile Little Buff to the 100-mile Front Range Century and everything in between.

Ridership on Team Cora Force has grown every year, currently averaging between 35 and 40 participants, according to Beaver.

“Our goal is always to raise about $40,000 a year with our team for the CF Foundation,” she says. “I don’t know what our exact number is for this year, because we leave it open where people can continue to donate after the ride, but we always raise quite a bit of money for the CF Foundation under Team Cora Force. All gifts are tax deductible, because it’s a nonprofit, and people donate whatever they feel comfortable giving.”

Beaver estimates Team Cora Force has generated about $200,000 since it first started its fundraising efforts. And while she acknowledges the goal is ambitious, she says she would love to see the group raise $1 million in total for the CF Foundation by the time Cora is ready to attend college.

“We love raising money for the CF Foundation, which is just a remarkable organization,” she says. “They do so much, not just to help find a cure, but they do much more for us families. With CF, it’s just a very difficult disease and it affects our everyday lives a lot, so we’re grateful for everything they do to help us. I don’t think that our experience as parents of a little one with CF would have gone as well as it has without the CF Foundation; they’ve been truly remarkable.”

Beaver says that, for their part, riders have remarked how satisfying it’s been for them to arrive at the finish line to find Cora and other Beaver family members congratulating them.

“It’s always really sweet, because Cora is often at the finish line with her little cowbells, cheering them on,” she says. “It’s not uncommon for riders to have a few tears in their eyes at the end, knowing they did this hard ride to raise money for the CF Foundation, and seeing Cora there to welcome them.”

Top image: David Beaver (left) and daughter Brenna at the Buffalo Bicycle Classic (Photo: Beaver family)

Did you enjoy this article? Subcribe to our newsletter. Passionate about the Buffalo Bicycle Classic? Show your support.

They ride for 5-year-old Cora Beaver, who was diagnosed with the illness shortly after birth.

Off

Traditional

White

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 Boulder 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 University of Colorado Boulder 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 Boulder 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 Boulder 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 Boulder 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 Boulder 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 Boulder 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.”

Did you enjoy this article? Subcribe to our newsletter. Passionate about theatre and dance? Show your support.

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.

Off

Traditional

White