Textbook for a study abroad program that never happened

photo of student group in Madrid in 2013

2013 participants on an excursion to Madrid

In 2013 I served as visiting faculty for a now-defunct study abroad program in Oviedo, Spain. My family and I spent six months living, working, and attending school in Asturias under the auspices of GEO (Global Engagement Oregon), then known as AHA. It was a great experience, so much so that when the program was discontinued, I decided to develop a new, faculty-led summer program at GEO’s Oviedo Center for students at the University of Oregon and GEO partner universities. I led a group of Spanish majors in August 2014, and again in 2015. I taught two 4-credit courses in the month of August, catering to Spanish majors looking to complete upper-level coursework. I redesigned the program in August 2019, this time with a group of (mostly) Spanish minors whose majors occupied most of their time during the academic year but who were excited at the prospect of satisfying their minor requirements and experiencing a linguistic and cultural immersion. The program was a success. It enrolled fully, and students reported a positive experience.

I’d planned to repeat the program in Summer 2020, and so spent Fall 2019 and Winter 2020 recruiting furiously. It paid off, and by March enrollment was full.

In anticipation, I’d prepared a new course reader that was focused on content related to the program site visits. This way, students would read about a site, visit it, and complete assignments meant to integrate the readings and their experiences on site. I’d had some success with this approach in past iterations of the program, but this time I really focused on making the readings directly relevant to the excursions and integrating medieval readings with modern readings on related cultural and historical issues.

The challenge in preparing these materials is that it is difficult to find texts on these topics that are linguistically appropriate to advanced intermediate learners of Spanish. Much of what is available relative to, for example, the region’s architecture, is written for specialists, or for adult native speakers of Spanish. As a result, the reader is a bricolage of sections of wikipedia pages, newspaper articles, books, and other sources heavily edited and glossed for non-native student readers.

public service poster from Asturian health authority; women pointing to head. Caption: The virus doesn't think, but you shouldThen COVID happened. The program was canceled, and the reader, which I’d spent so many hours preparing, was suddenly useless, at least for 2020. Hopefully I’ll use it in 2022.

I’d like to share it with you, in the hopes that it is useful to you, or perhaps it will inspire others to do likewise. The texts are all under an open license, Creative Commons BY-SA-NC, meaning that anyone is free to use, duplicate, modify, and publish for non-commercial purposes.

union made badge

 

I also added a ‘union made’ badge to the materials, to let readers know that the author enjoyed union protections, and that union membership strengthens academic freedoms and provides the kind of stable employment conditions that create favorable conditions for the creation of Open Educational Resources.

What follows is a guided tour of the reader’s units, to give you an idea of how they support site-specific student learning. You can start with the table of contents, that also has a link to the course syllabus.

The first site visit is the Roman Baths in Gijón, so I prepared a selection of Strabo’s Geography describing Lusitania, to help students see that Asturias was part of the Roman Empire and what that meant for Asturians at the time, as well as for current-day Asturians’ understanding of their own regional history. I paired this with an article about a nearby excavation of a Roman-era site, to help then make the connections between past and present.

group photo in front of the Holy Cave of Covadonga

2019 participants visit Covadonga

The next excursion was to the Santa Cueva de Covadonga, (and to the Iglesia de Santa Cruz in nearby Cangas de Onís) where according to legend took place a battle between Umayyad troops and a band of fighters led by Pelayo, a local warlord (the Arabic account, interestingly, says that no such battle occurred). This battle has become part of Spain’s foundational narrative, much like the “Shot heard ’round the world” from the US Revolutionary War. The legend is included in the 10th-century chronicle of Asturian King Alfonso III. I paired this with a news article on how the president of Spain’s right-wing Partido Popular has used Pelayo as a symbol of modern nationalism.

The Chronicle of Alfonso III also contains a section on the construction of some of the area’s most well-known pre-romanesque monuments. We visited the interpretive center dedicated to Asturian pre-romanesque architecture (Centro de Recepción e Interpretación del Prerrománico Asturiano). In preparation for this visit we read the corresponding section of Alfonso III’s chronicle, together with a chapter I adapted from a book on Asturian pre-romanesque architecture. I included a section on architectural terminology to give them some vocabulary to discuss the monuments.

students hiking the Camino Primitivo

2019 participants on the Camino Primitivo

Next we were to hike a section of the Camino Primitivo (the older route of the Camino de Santiago connecting Oviedo to Santiago via Lugo) ending up in the town of Grado, so we read Berceo’s Milagro of the Pilgrim to give them some sense of the very important culture of pilgrimage in the region and its role in the development of literature in the vernacular (here medieval Castilian). I added a short piece from ABC news featuring a US soldier en route to Afghanistan showing a tattoo of the Virgin of Guadalupe he’d gotten for protection (just as Berceo’s pilgrim called on the Virgin for protection).

After that we were scheduled to see the relics in the Cámara Santa of the Cathedral of Oviedo, so we read the Leyenda de San Toribio that explains their putative origin and how they ended up in Asturias.

student group photo in front of the Oviedo sinagogue

2019 participants at the synagogue

Then we were to visit the local synagogue and do a unit on Jewish history, so we read an article on a genealogical study of Asturias (according to the study the region with the highest Sephardic genetic profile), and a poem by medieval Hispano-Hebrew poet Judah Halevi translated into modern Spanish.In honor of our planned visit to the Asturian collection of the Biblioteca de Asturias we read about officiality and the 17th c. debate between Oviedo and Mérida (written in Asturian). We also planned for Ethnographer and author Alberto Álvarez Peña to give a presentation on the Asturian language (as he had in past iterations of the program).

The visit to the local mosque was paired with a news article on Spain’s first online Arabic-language newspaper, a unit on al-Andalus and selections from Andalusi poets Wallada and Ibn Zaydun translated into modern Spanish.

Finally, Aljamiado expert Pablo Rozas Candás was to give a talk on Moriscos and aljamiado literature so here’s the unit on Moriscos and Doncella Arcayona, accompanied by a news article on a 2002 petition to the Spanish government by a Moroccan historian advocating for a right of return for descendants of Muslims expelled from Spain in the 17th century.

This post began life as a twitter thread that you can read here.

Many thanks to GEO Program Coordinator Liz Abbasi, GEO Oviedo Site Director Silvia Pérez, and the students who participated in the 2019 program.

An Open Access Online archive of Premodern Iberian and Latin American primary texts for the classroom

landing page of Open Iberia AmericaAnyone who has taught panoramic survey courses of literature knows the frustration of working with published textbooks. I’ve argued both sides of the question in my blog: [pro-textbook] [anti-textbok]. Ultimately no one textbook can serve the curricular and pedagogical needs of any one instructor in any given class. Bound printed textbooks are shaped by market considerations and tend toward highly canonical selections from Castilian authors that no longer reflect the literary history practiced by most scholars of Iberian literatures (I talked about this lag between research and pedagogy at the MLA back in 2008). Curricular aims and time schedules vary considerably by institution and by instructor. It is extremely difficult to find a textbook of medieval Iberian literature that satisfies the pedagogical interests of the instructor and the economic interests of the student.

Amazon dot com page showing prices for renting and purchasing Voces de España

Print textbooks in general are becoming more expensive, outpacing inflation and adding increased financial burden to university students who are bearing ever-increasing debt loads. In addition to their cost, traditional print textbooks are inflexible, forcing instructors —many of whom are already time starved, with high teaching loads and increasing service burdens— to subordinate their own pedagogical interests and strengths to the materials and approaches offered by traditional print textbooks. This state of affairs is one in which market forces are distorting the way in which we represent Iberian cultures to our students.

Most instructors working in the field end up either adopting a traditional print textbook, supplementing with photocopied course packets and from other texts or of their own edition. Many of us are constantly reinventing the wheel. As a result, there is a tremendous amount of pedagogical material being developed that might well be put in the service of the wider community of teachers and learners of premodern Iberian cultures, under an open license that permits the broadest possible diffusion without concern (or the performance of concern) for copyright fees.

There has been talk of addressing this issue, at least the curricular issue, by collaborating on a newer, more inclusive teaching anthology, a sort of literary companion to Remie Constable’s Medieval Iberia. This is a wonderful idea, one whose time came a while ago. However, many colleagues, myself included, will find it difficult to commit to such a project, which by its nature demands the involvement of specialists in the many languages involved over several years and to the tune of many, many, hours. A further disincentive is that such work is not properly rewarded by most research institutions, so that one’s limited time for research (which is rewarded, in theory) becomes more limited.

As a compromise (or perhaps a cop-out), I proposed a different model of online resource, one that offers maximum flexibility to instructors, minimal costs to students, and a manageable time investment on the part of faculty.

Open Iberia/América is a collection of short selections of premodern Iberian and Latin American texts in pedagogical editions modeled after the editorial practices of commercial anthologies. Editors select a short text or excerpt which they gloss for undergraduate readers (the target population is undergraduate students in third-year courses in US universities) write short introductions, study questions, and provide a basic bibliography for further reading.  The commitment is low, and the texts can be one that you are currently editing or studying. The collection is edited by subject experts, and is available under a Creative Commons open access license that allows users to download, copy, distribute, alter, republish the units provided they attribute the source.

Audience? How does the format determine the audience?

photo of film audience with large question mark superimposed

source: pixbay.com

I imagined the audience as instructors and students of university classes in Hispanic literatures and perhaps history, religious studies, and other related topics. I also imagined it might be used by high school instructors of these topics in the US, UK, and the Spanish-speaking world. Each text is published in two versions: one with the text in the original language accompanied by an introduction, translation, and notes in English, and another version with the introduction, translation, and notes in Spanish. This way each can be used in courses in which the language of instruction is either English or Spanish. In courses taught in Spanish for non-native speakers of Spanish in the English-speaking world, the students have the option to consult the English-language version as a support. However, Open Access publications have an open-ended audience; anyone with an internet connection is able to access and download the texts, so this might include interested general readers, high school students, and instructors and students at low-resourced institutions worldwide. Some of the units in the collection cut across disciplinary areas, so that, for example, my unit on Isaac Cardoso could be taught in a course on Judaic Studies in English or Spanish; the unit on Ramon Muntaner could be taught in a History course in either language, and so forth.

Anthology or Archive?

title page and table of contents of Antologia de Poetas Hispano-Americanos published in eighteen ninety three

In planning this project, I had to think what shape it would take, and why. I wanted it to respond to the needs of the instructors and students, or at least my understanding of their and our needs, but I also wanted colleagues to be motivated to contribute. A print anthology is closed, in the sense that the editor or editors plan a determined number of contributions, solicit them, and publish them. Their editorial vision shapes the collection, which in turn determines the parameters of how one might use it in the classroom. However, for this project, I wanted to take advantage of digital publishing tools that would allow us to create an open-ended collection or archive rather than a closed anthology. This way we could keep adding to it indefinitely, and the collection could grow in response to the interest level and focus of the contributors. In balancing the needs of the imagined instructors and the interests of the contributors, I’m hoping to have a sustainable project that will refresh itself with new contributions and still provide a core of canonical frequently taught texts. So my hope is basically that instructors will come for Libro de Buen Amor and Celestina and stay for Ibn Hazm and Ramon Muntaner.

Editorial

Because one of the aims of the collection is to be linguistically inclusive, I needed to convene an editorial committee with specialization in each of the languages of the Spanish-Speaking world. I recruited colleagues in these fields whose duties would include promoting the project and soliciting contributions, reviewing proposals, and editing contributions. Here is the team I came up with. I had the great luck to have two colleagues here at the University of Oregon who are specialists in Nahuatl, and the first contribution in Nahuatl is in the pipeline. I would like to expand the Latin American area, and am looking for two new editors, one in Peninsular Early Modern and another in Latin American Early Modern or Colonial.

Technology and Copyright

image of page of a contribution showing text and footnotes

Rather than predicate the project on significant funding for design and implementation, I decided to go with the simplest possible scenario. The units are edited in Microsoft Word and deposited as .docx or .rtf files to Humanities Commons, the scholarly repository and networking platform developed by the MLA, but now operated jointly by a number of scholarly societies in the Humanities and housed at Michigan State University.

logos of Humanities Commons and Academia dot E.D.U. juxtaposed

Humanities Commons a not-for-profit, Open Access repository, and I would like to take a moment here to plug it and to shine some light on the shortcomings of the elephant in the room, Academia not edu. Academia, though far more popular than Humanities Commons, is the Amazon of the scholarly repository world. It exploits a legal loophole for peer-to-peer sharing in order to (1) do an end run around copyright protections and (2) monetize our research. If you upload your work to Academia, you probably do not have permission to share the publisher’s pdf on a website.

It’s unlikely that your publisher is going to send you a cease and desist for posting a single article, and Academia reaps the benefits. By contrast, Humanities Commons is a true scholarly repository. You must hold the rights to whatever you post there. This means that unless you have the express permission of your publisher, you cannot post the publisher’s pdf of your article, and must instead post what is called a postprint of your work, which is essentially the corrected typescript of the article that you send to the publisher. This you can do if your publisher’s open access policy allows it. Most commercial publishers allow this form of Open Access publishing, and journals published by academic societies such as La corónica have their own policies, but if you are in doubt you should ask.

Base texts and rights

manuscript image of Cantar de Mio Cid next to title page of Isaac Cardoso's Excelencias de los Hebreos

In any event, what does this legal state of affairs mean for Open Iberia/América? It means that we must hold the rights to the primary texts we publish in it. This can be accomplished by using an original transcription of a manuscript (such as Matthew Bailey’s transcription of Cantar de Mio Cid), or by transcribing an out-of-copyright print edition (such as my transcription of Isaac Cardoso’s Excelencias de los hebreos). In some rare instances, such as Elizabeth Wright’s edition of Juan Latino’s poetry, we were able to get the express permission of the publisher of her edition of his poetry. The same is true for images: if the image is available Open Access or is out of copyright, one can use it without permission, but in some cases it was necessary to secure express permission from the archive or library where a manuscript was stored. Collections are less wary to sign over permissions for texts and images to be used in a non-commercial work, but the gold standard is to use base texts and images that are already licensed as Open Access or that are out of copyright.

Promotion and Budget

photo of man pulling out pants pockets to indicate there is nothing in them

Because we have no publisher and no need to recuperate costs, and no advertising budget, actually no budget whatsoever, I have not given a good deal of thought to promoting the project beyond announcing new units on my twitter and on the Mediber Listserve. I imagine some folks find the collection through keyword searches. Recently I went and added units to their respective Wikipedia pages in order to perhaps get some more traffic, but honestly it’s not a huge priority for me. A casual search reveals that it’s been included in a number of resource guides.

Ambition

Currently we have published 12 units, and there are another 10 or so in production. To be honest, I have no concrete plans for the future; I can imagine us adding some 5-10 units per year. Anything more than this would not be sustainable on my end, and might make the collection unwieldy.  If at some point I should decide to secure funding for a zoomier interface and design I might upgrade the site.

list of units currently in production

 

Usage

These numbers tell us how many times each unit has been downloaded from Humanities Commons, but nothing more. We have little to no idea who has been reading or teaching these texts, and why. I’d love more information, but have no idea how I could go about collecting it.

table of usage statistics for published units

 

Please get in touch with me if you are interested in contributing to Open Iberia/América. 

This post is a version of a paper given at the 2021 MLA for the Digital Medieval Iberia panel. Thanks very much to presider Matthew Bailey.