HL90 FG: Dictatorship and Resistance in Latin America

We’ve got lots of exciting HL90s coming this fall! Jennifer Alpert told us all about her new course, Dictatorship and Resistance in Latin America, which meets Mondays, 12:45-2:45.

What inspired you to teach this class?

I have dreamt about teaching a class like this for years because there were very few courses on Latin America available to me as an undergraduate and graduate student and they mostly focused on “high-brow” literature, avant garde cinema, and other kinds of art that seemed inaccessible for mass audiences. I always wanted to learn about widely watched films/TV or best-selling books, street art, and other forms of expression that reached large portions of the population. In this class we will investigate the role popular culture and fiction have in mediating the traumatic experience of state terrorism, repression, and genocide, and how these forms resisted state violence and conferred agency to nations that were being attacked by those intended to protect them. Despite returning to democratic forms of government decades ago, Chile, Argentina, and many other countries in Latin America are still grappling with the consequences of dictatorship. The fictional and artistic works being produced right now continue to reveal the persistence of these national traumas (spoiler: we’ll discover how).

What’s something you’re excited to share with students?

The films! As a film scholar and a total cinephile, watching and talking about movies gives me life!

Do you have any cool projects or activities planned?

YES! Throughout the semester, we’ll be engaging our “creative muscle” as we caption film screenshots, create memes, and make short video responses to make our bodies and voices keep the people who were forcibly disappeared alive. For the final assignment, students can choose between writing a paper or crafting a creative project such as a short film, a museum exhibit or film series, a set of educational TikToks, a podcast, or any other idea that might come to their mind. The sky is the limit!

What does your class help us understand about the present?

The attack on the Capitol on January 6 seemed to come as a surprise, but many Latin Americanists who study dictatorship predicted what could happen. Studying historical and cultural processes in specific times/places helps us to develop the tools and methodologies to “read” other regions and historical moments and there are always connections and comparisons to be drawn.

What would students be surprised to learn about you?

I worked in the film industry before becoming a professor (at Pixar and the Academy of Motion Pictures, where I was even invited to celebrity-watch at the Oscars red carpet). I am also a popular culture fan and have not missed a season of 90-day Fiancé!

How can students learn more?

Students are invited to check out the syllabus on Canvas, and to contact me with any questions at jalpert@fas.harvard.edu—I am happy to chat via email or set up a virtual office hours appointment.

HL90 EX: Queer Latinx Borderlands

More new HL90s to check out! Tommy Conners shared more about Queer Latinx Borderlands and also some tv recommendations!

Tell us about your class!

“Queer Latinx Borderlands” is an intro to Latinx Studies where queer describes both the what and the how: not only are a lot of the cultural texts, films, poems, and documentaries we’ll study queer, but our look into the histories of race, gender, sexuality, and citizenship will try to pick apart their normativity and highlight their impacts on the many facets of Latinidad.

What is a book you’re excited to share with students?

Carmen María Machado’s 2019 memoir In the Dream House. Not only does it center on an abusive queer relationship between women (a topic that hardly gets any attention, generally speaking), it does so by playing with different genres and styles of writing like horror, sci-fi thriller, erotica, utopia, and even choose-your-own-adventure. The idea of a dream house always makes me rethink the idea of queer safe space, too—who is it safe for and from, how do we know it’s safe?

What’s something surprising students might not know about this topic?

The US Customs and Border Patrol have jurisdiction within 100 miles of any border—a space where nearly 2 out of 3 people in the US live, Boston included. But with the expansion of that zone of policing can come an expansion of the generative analysis a framework of borderlands offers. Following in the footsteps of Chicana lesbian Gloria Anzaldúa, this means tracing, critiquing, and moving beyond the intersecting forces of, for example, North American and Latin American ideas of race, straightness, and masculinity. For “Queer Latinx Borderlands,” these intersections will bring us to Junot Díaz’s Dominican New Jersey, Kali Fajardo-Anstine’s Latinas of indigenous descent in the American West, and Raquel Salas Rivera’s Puerto Rican Philadelphia (to name a few!).

Why should students take this class?

You should take this class if you’re interested in what Queer Studies gains by studying the histories and cultural production of Latinx communities, and what Latinx Studies gains by focusing on gender and sexually nonconforming artists, thinkers, and activists.

The Netflix series Pose is on the syllabus. Why focus on the Black and Latinx queer ball culture of the eighties and nineties in a seminar about borderlands?

Pose is SO good and pulls together some seriously fascinating topics: queer kinship, gender performance, trans activism, the HIV/AIDS crisis. I also love it because it’s so full of joy, too: the joy of house making, competing, strutting, winning a perfect 10…You’d also best believe part of our conversation will be discussing what house we’d belong to—Abundance or Evangelista?!

How can students learn more?

Be sure to check out the course Canvas site to see all we’ll be getting into and send an email to thomasconners@fas.harvard.edu with any and all thoughts and questions!

HL90 EZ: The Global South Asian Diaspora

Classes start in just a few weeks! We’re ready with lots of new HL90s we’re excited to share! Up first, read more about Vikrant Dadawala’s class, The Global South Asian Diaspora:

Tell us about your class!

This class offers students a chance to think about migration, labor, and literature in a global and comparative spirit. Our popular understanding of the South Asian diaspora tends to be based on very recent history. This class will explore older stories of South Asian migration that aren’t as well known–indentured laborers brought in to work in Caribbean sugarcane plantations after the
abolition of slavery, sailors who jumped ship in London or New York City, and merchants
who lived on the shores of east Africa. We will read literature in English as well as in translation
from five South Asian languages.

Is there something you’re especially looking forward to share with the class?

I’m looking forward to our sessions in Weeks 3 and 5, that reconstruct nineteenth-century voyages across the Indian Ocean using a mix of autobiographies, diaries, and other fragmentary sources. I think of myself as a well-travelled person. But my experience of international travel has always involved the banal routine of applying for a visa, sitting still inside an airplane for a few hours, and queuing up to get my passport stamped at my destination. This is not how humans travelled for most of history! By the end of the semester, I hope students can have a real sense of what it was like to sail across a vast ocean towards an unknown destination – whether as a “lascar” in the crew of a British clipper or steamer, or as an indentured “coolie” who has signed away his or her freedom for the next five years.

What’s something surprising that students might not know about this topic?

That east Africa was described by a colonial official in 1901 as the “America of the Hindu.” Or that the word “shampoo” was introduced to English by Sake Dean Mahomed, a Bengali Muslim who migrated to England in 1784, and wrote what is probably the first book in English by a South Asian author. Or that Indians, Pakistanis, and Bangladeshis on temporary visas comprise close to sixty percent of the population of the contemporary United Arab Emirates (UAE).

Do you have any cool assignments planned?

For the final project, students are free to write about any book of their choice, placing it in conversation with the historical context from which it emerged. Meanwhile, as we move from region to region, we’re going to keep track of the new musical forms and dishes that emerged from interactions between South Asian migrants and local traditions. My favorite of these dishes is definitely roti canai, from Malaysian Indian cuisine. I’m also very impressed by the cheerful bawdiness of chutney soca music from Trinidad.

How can students learn more about the class?

You can see the syllabus by visiting the Canvas site for the class. If you have any questions, feel free to email me at vikrant_dadawala@fas.harvard.edu or set up an appointment to meet in person or virtually.

Diana Myers ’21

Diana with completed thesis on the steps of Widener

Tell us about your thesis!

My thesis, Mater matris domini: Holy Motherhood and the Early Cult of St. Anne, is about the creation and evolution of medieval veneration of St. Anne, who was the Virgin Mary’s mother. In the later Middle Ages, Anne was honored in liturgy and art as an exemplary mother, but how exactly that came about was unclear. My thesis attempts to fill in the gaps by considering the evolution of female sanctity more broadly. By studying early Latin liturgical sources, such as prayers and sermons, I found that, in the early medieval period, Anne was venerated on the basis of her role in salvation history, not as a mother. It wasn’t until other female saints began to be honored for their maternal prowess, around the year 1000, that Anne was seen as a mother par excellence.

Stained glass at Chartres Cathedral (France) showing St. Anne holding the Virgin Mary

How did you choose your topic?

I worked on some medieval French liturgy for St. Anne for my junior essay and I really loved it. Working on the liturgy is such a revealing way to get to the heart of what medieval people were thinking and caring about. I also have always worked academically at the intersection of gender and religion. When I began researching possible thesis topics, I knew that liturgical materials about women would form a major part of my source base, and I was so fascinated by Anne’s story that I stuck with her!

Did you encounter any surprises along the way?

I mean, the pandemic was a pretty big surprise! And it certainly made the research I had been planning since my junior spring impossible to carry out. As a result, I had to shift my focus from the French archival sources I had wanted to work with to sources that had already been digitized. I was pleasantly surprised to find that Harvard had access to so many medieval Latin texts online, and it was through running a lot of keyword searches in Hollis that I found many of my primary sources, most of which I hadn’t known about before.

What advice would you give to juniors?

This won’t work for everyone, but try holding yourself to writing a set number of words each day. When I was seriously writing my chapters, I wouldn’t allow myself to work on anything else until I had checked five hundred words off my to-do list for the day. Also, don’t be scared of revising: I think my first chapter went through five or six drafts before I decided it was done.

HL90 ET: Asian America’s Vietnam War

We’ve got one final HL90 to share before applications to enroll in one are due tonight. Catherine Nguyen shared more about her new class, “Asian America’s Vietnam War,” the texts that made the cut, the texts that might have, and food!

What inspired you to teach this class?

I’m excited to be teaching a seminar on the history and literature of the Vietnam War! When I was trying to figure out what class to offer as a HL90, I was looking around the course offerings at Harvard, and I saw that there is a history course on the Vietnam War. The syllabus provides a thorough account of American history and Vietnam War, and if I were a student, I would definitely take it. At the same time though, I was struck by the few Vietnamese names included. As a second generation Vietnamese American and as one who never had an opportunity to take a Vietnam War class, I was looking for more, for narratives that might speak to my family’s history and to my own experience. Given the opportunity to teach a Vietnam War seminar through History & Literature, I worked to design a course that put front and center the Vietnamese experience—the opposing sides, soldiers and civilians, and the diaspora in the United States, France, and Australia. Moreover, the Vietnam War affected the larger Southeast Asian region and is a major moment for Asian American history, so we’ll be reading narratives from the Southeast Asian diaspora and Asian America. So, my hope is that the seminar and its syllabus will offer you something that speaks to the complexity of the Vietnam War and its aftermath.

What’s something you’re excited to share with students?

The boat narrative is the story of the Vietnam War and of the Vietnamese refugee. I’m excited to share with you the different ways that authors and artists have represented the boat narrative because it reflects an important history at the same time working through how the boat narrative is carried through in the diaspora and through the second generation. For example, we will be looking at a short story by a Vietnamese writer who lives in France but writes in Vietnamese alongside a picture book by a Vietnamese American author and an online interactive drawn by a Vietnamese Australian artist. We’ll think through what does each medium offer and how might it be constructing a particular vision or memory of the boat narrative.

Do you have any cool projects planned?

Given that we’re going to explore a lot of different things in the seminar—Maya Lin’s the Vietnam War Veterans Memorial to Hmong American stories—the final project is open in its subject and possibilities, as you can pursue a research paper or a creative project with an artist statement. So you can develop a podcast on generational memory, write a family memoir, draw a comic on Southeast Asian American student experiences, and more.

The seminar also has a mini-speaker series, and we will be inviting emerging scholars of critical refugee studies as well as creative artists who work in mix media, poetry and photography. This is required of students and provides you with the opportunity to have a conversation with them about how they approach the legacies of the Vietnam War in their work.

It always feels like there’s too much to read and not enough time. What are some other works that you considered assigning?


Thanhha Lai’s Butterfly Yellow that’s about a Vietnamese girl in Texas; Ocean Vuong’s poetic On Earth We’re Briefly Gorgeous; Quan Barry’s epic She Weeps Each Time You’re Born; Aimee Phan’s We Should Never Meet that tracks stories between Vietnam and Little Saigon in California; Viet Thanh Nguyen’s story collection The Refugees; and Thi Bui’s beautifully drawn The Best We Could Do.

What’s your favorite Vietnamese dish?

That’s such a difficult question, but it would be bánh cuốn, rolled not folded and with all the trimmings. Ngon quá!

How should students contact you to find out more?


I’d love to see you at the Shopping Week Info Session TODAY at 1:00-2:00pm ET on Zoom. And if you’ve any further questions, feel free to email me at chnguyen@fas.harvard.edu.

HL90 EI: Islam in Early America

We’ve got another new HL90 to check out this spring! Arianne Urus shared more about her class, “Islam in Early America.”

Tell us more about your class and what students can expect to learn.

Bringing together the Spanish Inquisition, Atlantic slavery, West African politics, and European imperialism, this course will examine how Islam and Muslims have been present in the Americas for centuries, even if this history is largely forgotten. While focused on the early modern period, the course concludes with a reading of Malcolm X. Together, we will open up questions about the connections between the past and present place of Muslims in the United States and the Atlantic World more broadly.

What’s a text you’re excited to share with students?

I’m looking forward to reading the autobiography of Omar ibn Said. Originally from West Africa, ibn Said was enslaved in the Carolinas and wrote his autobiography in Arabic in 1831. Rhiannon Giddens has created an opera, “Omar,” based on his life,  composing music with Arabic and African influences as well as African American folk traditions. Considering the text and the opera side by side, we can think about how the position of Muslims in the United States today might have influenced Giddens’s opera as well as how ibn Said’s experiences as a Muslim in early America might complicate twenty-first-century narratives about Muslim Americans.

How can students learn more about the class?

My canvas site is published and I have a shopping week event on Wednesday January 20 at 3pm. Interested students an also reach out via email asurus@fas.harvard.edu

HL90 DV: Red Scares

HUAC beware! Lauren Kaminsky and Steve Biel told us about their returning HL90, Red Scares; read more about the relationship between politics and culture, and get a sneak preview of Zoom outfits to come.

Tell us about your class!

In this class we’ll explore the anti-radical impulses and movements in US history that culminated in the convulsions known as the First and Second “Red Scares.” The First Red Scare, precipitated by World War I and the Bolshevik Revolution in Russia, followed on fears and persecution of anarchists, socialists, and other labor radicals in the late-19th and early-20th centuries. In the Second Red Scare after World War II, the House Un-American Activities Committee (HUAC), Senator Joseph McCarthy, the FBI, and others conducted widespread investigations of suspected communists and purged “subversives” from all levels of government, the entertainment industry, public and private schools, colleges and universities. Beginning with mid 19th-century fears that revolutionary uprisings could spread from Europe to the United States, “Red Scares” explores anxieties about subversion and perversion in American politics and culture. 

What does your class help us understand about the present? 

Why was an insurrectionist at the front of the mob storming the Capitol last Wednesday carrying a sign saying “THE REAL INVISIBLE ENEMY IS COMMUNISM”? Subverting American democracy in the same of protecting the nation against subversion is not a new phenomenon, and, as we’ll explore in this course, the specter of hidden communists and other radical enemies reaches deep into U.S. history.

Demonstrators try to enter the U.S. Capitol building during a protest outside of in Washington, D.C., U.S., on Wednesday, Jan. 6, 2021. The U.S. Capitol was placed under lockdown and Vice President Mike Pence left the floor of Congress as hundreds of protesters swarmed past barricades surrounding the building where lawmakers were debating Joe Biden’s victory in the Electoral College. Photographer: Victor J. Blue/Bloomberg via Getty Images

What’s something surprising students might not know about this topic?

Red Scares have been inextricably tied up with histories of racism and xenophobia. So much of this course will focus on how anti-radical rhetoric and politics targeted marginalized groups, including African Americans, immigrants, gays and lesbians, and others.

Is there a particular text you’re excited to share with students?

During the early Cold War, “bad” mothers were a particular cause for concern among social observers. The 1952 Hollywood film My Son John presents us with a mother whose excessively close attachment to her son turns him into a homosexual and Communist spy.

Do you have any cool assignments planned?

One of our essay assignments asks students to use documents from the poet Langston Hughes’s FBI file to explore how investigators constructed a relationship between social justice activism and communist subversion. 

Anything else students should know?

This is what we look like when we teach this class:

How should students contact you to find out more?

Check out the Red Scares Canvas site, sign up for our joint office hours, or email Steve and Lauren!

HL90 EK: American Noir

More new HL90s this semester! Angela Allan told us about her new class on noir.

What inspired you to teach this class?

I spent a lot of time in March and April watching movies as an alternative to doomscrolling (although I’ve done plenty of that too), and realized that a lot of the films I turned to were also not particularly uplifting. While there’s a lot to love about noir—snappy dialogue, great clothes, amazing cinematography—it’s also incredibly unsettling stuff. But audiences in the 1940s and 50s loved it! Life called it “Hollywood’s profound postwar affection for morbid drama.” In the haze of popular narratives about the postwar period, we so often think about the end of World War II as this quick pivot to the nuclear family in the suburbs, but the end of the war also marked a kind of social and psychological reckoning with what the national identity would be. So we’ll be talking about noir as the cultural counterpart to these conversations.

What’s something you’re excited to share with students?

I’m so excited to talk about all of the films and novels, but one of the things we’ll be doing as an activity on the first day of class is looking at some true crime magazines from the 1940s and 1950s. I’m not a podcast person, but I find it super interesting that things like Serial have been so popular in the last couple of years. The magazines we’re looking at show that this public appetite for true crime is nothing new. It’s amazing how many different magazines existed: True Detective, Front Page Detective, Uncensored Detective, Inside Detective, and so on. They also have these totally salacious headlines, photos, and illustrations, so I’m looking forward to our discussion about who the audience for them was and what purpose they served.

What do you want students to take away from the class?

One of my informal policies for the classroom is banning the word “problematic” from discussion. The texts in this class have many, many, many flaws but I think that’s why they’re also so interesting and important to study. What’s more, so many of the novels and films are about the problematic. Noir is all about individuals who break norms or rebel. These characters don’t “fit” into an idealized model of society that is largely built by and for heterosexual white men. Some of our texts are invested in the restoration or affirmation of this society by purging the “bad” individual, while others are invested in critiquing the harm that society inflicts upon individuals who don’t conform. I’m hoping we’ll have a lot of great conversations about how popular culture participates in navigating these ideas.

Would you be the detective or the criminal mastermind in a noir?

I’d just want to make it to the end in one piece! There are some pretty tough characters out there in the world of noir.

How can students learn more?

You can check out the syllabus on Canvas and if you’d like to talk more, shoot me an email (allan@fas.harvard.edu) to ask questions or to set up an appointment!

HL90 DZ: Too Soon? Comedy in Europe’s Tragic Twentieth Century

No joke! One of our popular HL90 seminars is back! Kate Brackney told us more about European history, film, and comedy:

What inspired you to teach this class?

I thought up the title for this course years before teaching it; I’d bring up “Too Soon?” with colleagues, and we’d scheme about what might go on the syllabus. Initially, I just imagined the course as a standard survey of European history through comedic sources, but as I prepared to teach it, I came to appreciate comedy’s distinct value to cultural historians. Comedians often balance at the edge taboo, and their role in demarcating instinctive, often unspoken social boundaries makes comedy such a useful portal into the past.

I also began to see deeper structural parallels in comedy and history as narrative genres. The old adage, “Comedy equals tragedy plus time,” (a formula that we’ll test on the syllabus) suggests that some kind of distance or perspective is necessary for a joke be funny. Similarly, in the discipline of history, our remove from past events both enables and limits our capacity to formulate a coherent story about what happened and why.

Even if perspective is necessary for comedy, being on the inside of a given group often determines whether a joke will land. Historians, too, try to make up for our remove from the past by immersing ourselves in the sources from a given moment. In other words, a delicate and ever-changing balance between distance and proximity is what makes for both good comedy and insightful history. We’ll try to figure out how to achieve that kind of balancing act in this class.

What’s something you’re excited to share with students?

While not all of the sources we look at in this class are “timeless,” The Great Dictator definitely qualifies as a classic, and I love that students in 2021 can still laugh just as hard as audiences did back in 1940 at Chaplin’s wonderfully garbled parody of Hitler’s German speech style.

Yasemin Şamdereli’s Almanya: Welcome to Germany is another more contemporary highlight of the course. The film explores the experiences of a Turkish immigrant to Germany and his multi-generational family. Şamdereli may have a light comic touch, but her work speaks to deeper tensions over the reformation of Germany as a multi-ethnic society in the post-war era — tensions that students will have a chance to explore in the excellent historical reading that accompanies the film.

Do you have to be funny to get an A in this class?

No, no, of course not …but it can’t hurt.

How should students contact you to find out more?

Students can talk with me about the course during the HL90 open house on Friday, January 15. I’ll also be holding a shopping session on Thursday, January 21st at noon. Zoom info is available on the course’s Canvas site.

HL90 ES: Prison Abolition

We’re excited about Thomas Dichter’s new HL90 this semester! Thomas told us some more about the class’s format and activism component.

Tell us about your class!

This course will give students an opportunity to apply historical and literary methods to studying the prison abolitionist movement, while also getting hands-on experience working with activists. Alongside our readings and class discussions, students will work in small teams on volunteer projects with organizations that are working to transform the criminal legal system. The goal is not just to move between “theory” and “practice,” but to see how the distinction between those two things may not be so distinct after all. 

How will this class help students understand the present?

The idea of prison and police abolition has garnered a lot of public attention in recent years, and in 2020 especially. But these ideas didn’t just appear last summer, and in fact there have been other times, like the 1970s, when the notion that prisons might be abolished received remarkably widespread support. We’ll also explore different social movements that many prison abolitionists have drawn on for inspiration or claimed as political ancestors. 

Do students need any particular experience or familiarity with this material to take the class?

Nope! Everyone is welcome, whether you’re new to thinking about these issues or you’re a committed prison abolitionist. I really want the class to offer something to everyone, and for everyone to be able to offer their own perspective to our collective exploration of this complex and difficult topic.

What are the assignments like?

Rather than ending the class with a long seminar paper, this course has a handful of shorter written and collaborative assignments. For one thing, your volunteer work will count towards your grade, and you’ll have opportunities to reflect on it in writing. There will be some short writing assignments to practice key close reading and historical contextualization skills, and there will be a number of assignments built around group discussions and collaboration—including a final exam you’ll complete with a team of classmates.

How can students find out more about the class?

I’ll be holding open Q&A sessions on Friday 1/15 and Tuesday 1/19 (details are on the Canvas site). You can also reach me at dichter@fas.harvard.edu. I’m looking forward to meeting any students who may be interested in learning more about the class!