August 2026 Modules

In this module we will look at the historical development of anime, with special attention to its uses in re-imagining post-war Japanese culture and society. From Momotaro’s Divine Sea Warriors to mushroom-cloud explosions and kawaii aesthetic, come explore how anime shapes Japanese (and others’) perceptions of Japanese history and culture.

Want to read the NT in the original Greek? The Greek translation of the Old Testament? This module’s for you! We continue our study introducing learners to the basics of ancient Greek: the alphabet, introduction to the verb system (tenses and moods) and the noun system (the very helpful article, first and second declension). Over several modules, the students will learn the foundations of the language and then students will be able to read texts.

Note: All sessions will be live recorded and shared with all enrolled students afterward for review and to allow those who cannot attend live to still participate in the class.

Beginning Quenya aims to take students with any level (or no level) of previous language experience and introduce them to the quest to learn Quenya, Tolkien's most developed invented language.

The first module of Beginning Quenya will introduce students to the pronunciation and basic inflections of the language, with a dose of vocabulary and basic sentence translation as well as an introduction to the Tengwar system.

Future modules will eventually bring students to a more complete understanding of the language with the aim of eventually diving into "primary source" Quenya and Tolkien's numerous Quenya poems, and even into student compositions in Quenya itself!

Each module of the course will be structured around a weekly lecture and practicum, with a pre-recorded lecture released to the students at the beginning of each week, explaining new concepts and giving (optional) exercises to aid in student mastery of each topic. These lectures will be followed by a weekly discussion section/practicum, where each section can work through problems, clarifying questions, and practical exercises as a group to reinforce each lesson.

Optional learning resources will be provided for the students each week, but the most important part is to simply listen to the lectures and take part in the practicum sessions!

The module will follow an 8-session structure as shown below:

Outline	8-Session Structure
Week 1	Lecture 1: Learning Ancient Languages - The History of Quenya - The Problem of Quenya - The Purposes of Learning Quenya -Pronunciation and Stress Patterns
	Discussion 1: Class discussion on Lecture 1 material.
Week 2	Lecture 2: The Classes of Nouns and Verbs - Synthetic and Analytical Languages - The Present Tense - The Nominative/Accusative - The Being Verbs
	Discussion 2: Class discussion on Lecture 2 material.
Week 3	Lecture 3: The Aorist - Pronouns and Pronoun Suffixes - The Future Tense - Wishes and Commands
	Discussion 3: Class discussion on Lecture 3 material.
Week 4	Lecture 4: Integrative Lecture I Bringing It Together: Grammar and Translation
	Discussion 4: Class discussion on Lecture 4 material.

Critical fantasy is a sub-genre of fantasy writing which I have been pioneering in my own creative works which puts an emphasis on aspects of writing which are often neglected in mass-market fantasy: namely, the careful and controlled use of stylistic devices, the integration of socially relevant themes and philosophical problems into stories, and greater intertextuality with other works in our inherited literary traditions. At the same time, critical fantasy stays true to the core elements of fantasy writing, such as immersive worldbuilding (in spatial and temporal senses), a wide cast of complex characters, and plots often focused on adventures and quests into the unknown.

In this module, I will use my own creative writing and that of other writers to illustrate the key topics of each week (see list below). I will also occasionally use theoretical works (in literary theory) to introduce or explain certain concepts in writing (all such readings are optional). At the start of each week’s lesson, we will also have a sharing session where you can read out your own writing (drafts, overviews, or just random thoughts on your writing) in a safe space among fellow creatives.

Course Outline:

Week One
• Introduction: Module Structure, Topics, and Methods
• Stylistic Principles: Syntax and Phonetics: Chiasmus, Hyperbaton, Parallelism, and Alliteration
Week Two
• Character Principles: Developing Psychological Complexity in Your Characters: Inner Conflicts, Perception, Habits
• Narratological Principles: Narrators Types: Extradiegetic vs Intradiegetic; Heterodiegetic vs Homodiegetic
Week Three
• Narratological Principles: Narrative Space: Dynamic Space, Chekov’s Gun, Ecphrasis, and Fable vs Story Space
• Worldbuilding: Building Historical Layers into Your Writing: Ruins, Symbols, and Forgetfulness
Week Four
• Writing as ‘Philosophical impulse’: Why do we write?
• Workshop: Sharing Thoughts and Writing
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We will meet to blend learning, discussion, and playing games with reading, appreciating, and commenting on one another’s work as it is submitted for peer review. Writers are encouraged—but never required—to submit new pieces in any state of draftiness or readiness up to 2,000 words each week for peer reading and feedback. Our Collaborative Feedback method, developed here at Signum University, asks us to comment at the author's comfort level through a structured reader (not editor) response. We gather to encourage the story that the author wants to tell. Our philosophy of kindness first might just turn around your previous experience of writing groups.

Note: For more information about the Collaborative Feedback Method in SPACE, please check out our video here.

Terry Pratchett's witches - Granny Weatherwax, Nanny Ogg and Magrat Garlick - are more than just a marvelous spoof of those in Shakespeare's 'Macbeth'. In addition to their undoubted comedic value, they are also a voice for some of the major themes of the Discworld novels. Through readings of extracts from the relevant novels, as well as reference to some modern scholarship, we will examine the differences between witch magic and wizard magic; the role of witches in Discworld society; Pratchett's representations of gender; themes of power and authority, and the presentation of the minor witch characters. Access to the listed texts is desirable. Prior knowledge of at least the majority of the listed texts will be assumed.

Why do fairy tales captivate us across cultures and centuries? What transforms a simple tale into something that lingers in the imagination for a lifetime? J.R.R. Tolkien grappled with such questions in his landmark essay "On Fairy-stories", and his answers revolutionized how we understand fantasy literature. This course invites you to explore the intellectual and imaginative foundations beneath The Hobbit and The Lord of the Rings as we dive into one of Tolkien's most important works of literary theory.

Far from a dry academic treatise, "On Fairy-stories" is a passionate defence of imagination itself, as Tolkien champions fantasy as a serious genre for adults that offers "recovery, escape, and consolation," allowing us to see our own world with fresh wonder. Tolkien challenges us to reconsider what we dismiss as mere children's entertainment and recognize fairy stories as a sophisticated art form that speaks to our deepest human needs.

In this course, we will discuss all of these ideas, alongside why Tolkien believed that creating imaginary worlds is a fundamentally human act, one that echoes the divine act of creation itself. Through our reading of "On Fairy-stories", we will discover new ways of appreciating not just Tolkien's own fiction, but the entire tradition of imaginative storytelling. Come ready to think deeply, share insights, and rediscover the power of stories that begin “once upon a time.”

Why do fairy tales captivate us across cultures and centuries? What transforms a simple tale into something that lingers in the imagination for a lifetime? J.R.R. Tolkien grappled with such questions in his landmark essay "On Fairy-stories", and his answers revolutionized how we understand fantasy literature. This course invites you to explore the intellectual and imaginative foundations beneath The Hobbit and The Lord of the Rings as we dive into one of Tolkien's most important works of literary theory.

Far from a dry academic treatise, "On Fairy-stories" is a passionate defence of imagination itself, as Tolkien champions fantasy as a serious genre for adults that offers "recovery, escape, and consolation," allowing us to see our own world with fresh wonder. Tolkien challenges us to reconsider what we dismiss as mere children's entertainment and recognize fairy stories as a sophisticated art form that speaks to our deepest human needs.

In this course, we will discuss all of these ideas, alongside why Tolkien believed that creating imaginary worlds is a fundamentally human act, one that echoes the divine act of creation itself. Through our reading of "On Fairy-stories", we will discover new ways of appreciating not just Tolkien's own fiction, but the entire tradition of imaginative storytelling. Come ready to think deeply, share insights, and rediscover the power of stories that begin “once upon a time.”

This module explores the third book in the series: Mockingjay (2010).

Series Outline:

What lessons do the Capitol and Districts have to teach us? What warnings should we heed? What road leads from here to Panem? Over the course of five months, participants in these SPACE modules will read and discuss a modern classic of dystopian storytelling, The Hunger Games series by Suzanne Collins.

In this hybrid series, each week will include one lecture and one live discussion. The lectures will examine the inspirations behind, allusions in, and questions posed by that month's novel. In live discussions, participants will share their insights on, interpretations of, and reactions to the story. Together we will consider why this series has spoken to so many readers and explore how its messages remain relevant today.

Students will be asked to read one book over the course of each month in whatever format they choose. All of these novels are available in print, ebook, and audio format.

(Warning: The Hunger Games series include descriptions - for a young-adult audience - of substance abuse, physical abuse, violence, and death.)

Series Outline:

• Module 1: The Hunger Games (2008)

• Module 2: Catching Fire (2009)

• Module 3: Mockingjay (2010)

• Module 4: The Ballad of Songbirds and Snakes (2020)

• Module 5: Sunrise on the Reaping (2025)

This module offers a series of Latin readings that review material covered in many traditional Latin I courses (including Signum's own Latin I graduate course and the first five Latin in a Year SPACE modules). Students will read selections from selected textbooks and Latin readers and attempt two short literary passages. All readings will be provided, though access to a Latin grammar book and a basic Latin dictionary may be beneficial.

Latin grammar assumed:
- Understanding of stems, endings, cases, agreement, and parts of speech
- Knowledge of 1st, 2nd, 3rd, and 4th declension endings for nouns and adjectives
- Knowledge of regular Latin verb conjugations in all indicative tenses (present, imperfect, future, perfect, pluperfect, future perfect), both active and passive, and the imperative forms
- Ability to recognize conjugations of of “sum” and “possum”
- Familiarity with ego, tu, is, hic, ille, iste, idem, qui, and reflexives
- Awareness of Latin numerals
- Acquaintance with ablatives of means, accompaniment, manner, time, agent, separation, and place from which, as well as genitive of the whole and use of genitive and ablative with cardinal numerals

"We are such stuff as dreams are made on,” we’re informed in one of Shakespeare’s most celebrated and enigmatic plays—The Tempest. This hybrid module explores the bard’s tale of magic, monsters, betrayal, and forgiveness, with discussions of the play’s text and lectures on its historical and theatrical context. We’ll look at the circumstances of its conception and early performance history alongside contemporary works on sea travel, exploration, and magic—including Walter Raleigh’s accounts of his voyages, Montaigne’s essay On Cannibals, and Reginald Scott’s tales of magic in foreign lands. We’ll also examine creative and scholarly responses to the play from Dryden, Johnson, Shelly, Browning, and others, ending with Peter Greenway’s film adaptation, Prospero’s Books (1991) starring Sir John Gielgud.

Hybrid Schedule:

Week One
• Lecture 1: Introducing The Tempest
• Discussion 1: The Tempest, Acts I and II
Week Two
• Lecture 2: Travel & Exploration in the Age of The Tempest
• Discussion 2: The Tempest, Acts III and IV
Week Three
• Lecture 3: Magic & Witchcraft
• Discussion 3: The Tempest, Act V
Week Four
• Lecture 4: Responses and Adaptations: 1660 - 2010
• Discussion 4: The Tempest on Screen: Prospero’s Books (1991)
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“She’s coming! Strike up, Beth! Open the door, Amy! Three cheers for Marmee!” cried Jo, prancing about, while Meg went to conduct her mother to the seat of honor.

This quote gives us a perfect glimpse of the March sisters and their mother: nurturing Meg, tomboy fiery Jo, gentle Beth, and ambitious Amy. The lives of the four March sisters have inspired several movies and continue to be popular. A beloved classic and based largely on autobiographical information, Little Women has never been out of print since it was published in 1868.

Louisa May Alcott’s novel is more than a cozy tale of 19th-century family life; it’s a surprisingly sharp study of character and the role of women. This module focuses on Part 1 where the March sisters grapple with poverty, society’s expectations, and their own turbulent desires. We’ll move beyond nostalgia to examine the novel’s active tensions: Jo’s fierce independence, Meg’s longing for luxury, Beth’s selfless contentment, and Amy’s social ambition.

We’ll also discuss how Alcott’s classic poses a question still relevant today: How do we forge our own path while staying true to the ones we love?

“And there abide the ghosts of those that may not rest; and there wander the dwarfs and the mountain-dwellers, the dealers in marvels, the givers of gifts that destroy Houses…”

Over two months, let’s read The Roots of the Mountains by William Morris!

Ensconced at the roots of the mountains, the peaceful Dalemen are craftspeople, woodsmen and shepherds. Only the restless Face-of-God dares to roam beyond the safe confines of his village. In the wilds, he soon discovers his world is far from safe, as the Huns are poised to invade Dale and cast its people into slavery.

Taking up his sword alongside the beautiful Sun-Beam, Face-of-God vows to protect his folk at any cost. Only by bringing together the disparate tribes of the Dale do they have any hope of victory.

William Morris returns to the world of wights and shield maidens. An epic of bravery and sacrifice, imbued with a deep love of Norse myth, Morris revives the medieval romance tradition where true love endures against terrible foes.

Based on the preceptor's edited volume, Tolkien and the Classical World, this module takes students on a tour of the classical influences and ideas on the life, writings, and thought of English fantasy writer J.R.R. Tolkien, while also introducing seminal Greco-Roman texts to those without any classical background.