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This series of modules would be for students who want to learn how to read Biblical Hebrew. The course would include some speaking, listening, and writing skills as well. But people who learn Biblical Hebrew do so in order to read it, so reading and comprehension skills would take primary focus.

Course Outline:

Weeks One and Two
• Sessions 1-4: Introduce the Hebrew alphabet and vowel classes
Week Three
• Session 5: History of Hebrew alphabet and vowel pointers
• Session 6: Syllabification
Week Four
• Session 7: Daghesh and Shewa
• Session 8: Reduced vowels

Follow Alexander’s epic journey from a young Macedonian prince to history’s most legendary conqueror, examining his battles, ambitions, and the empire that reshaped the ancient world."

This dynamic eight-session course brings to life the extraordinary story of Alexander the Great, the brilliant, ruthless, and visionary conqueror who forged an empire spanning three continents. Through lively lectures and vivid visuals (maps, artifacts, and battle simulations), combined with thought-provoking discussions, we’ll explore his meteoric rise from prince to global icon. By the end, you’ll understand why Alexander’s name still echoes 2,300 years after his death.

Course Outline:

Week One
• Session 1: Introduction & Macedonia Before Alexander
• Session 2: The Beginning of Alexander’s Reign
Week Two
• Session 3: The Invasion of Persia
• Session 4: Key Battles – Issus & Gaugamela
Week Three
• Session 5: Egypt & the Oracle at Siwa
• Session 6: The Heart of Persia & the Death of Darius
Week Four
• Session 7: The Indian Campaign & Mutiny
• Session 7: Death & Legacy of Alexander the Great

This course explores Aeschylus and his Oresteia trilogy of plays in depth, examining its themes, dramatic techniques, and historical context, while also introducing SPACE students to the origins and performance practices of Ancient Greek tragedy.

This eight-session course offers an engaging exploration of Aeschylus’ Oresteia—the groundbreaking trilogy that reshaped Ancient Greek tragedy. Through dynamic discussions, close readings, and visual aids, we’ll unpack Aeschylus' plays (Agamemnon, The Libation Bearers, and The Eumenides) examining their brutal conflicts, moral dilemmas, and ultimate vision of justice. Along the way, we’ll investigate Greek tragedy’s origins, Aeschylus’ revolutionary innovations, and how these ancient dramas still resonate today. No prior knowledge or homework required—just a willingness to debate fate, fury, and the first courtroom drama in Western literature!

Course Outline:

Week One
• Session 1: The Origins of Greek Tragedy
• Session 2: Performance and Dramatic Techniques in Greek Tragedy
Week Two
• Session 3: Aeschylus, the Father of Tragedy
• Session 4: Agamemnon – Blood, Betrayal, and the House of Atreus
Week Three
• Session 5: The Libation Bearers – The Cycle of Revenge
• Session 6: The Eumenides – Blood Feuds to Civic Justice
Week Four
• Session 7: The Oresteia as a Unified Trilogy
• Session 7: Greek Tragedy’s Influence and Modern Adaptations

In this module, I will take you on a tour of some of the most important philosophical movements in the Greco-Roman world. After an introductory class (where we will talk about our approach and where I will give an overview of our module), the first few lessons will be based on the so-called pre-Socratic philosophers (6th to early 5th century BCE), with a special focus on Heraclitus.

These archaic/early Greek philosophers did not necessarily establish coherent systems of philosophy and often focused only on fysis (physics), trying to understand if there was a unifying principle to our physical world and if everything is composed of many parts or is ‘one’ (among other topics). Apart from physics, they also provide us with some of the earliest discussions of logic (especially, Parmenides), although they are far more creative than later philosophers in their use of different kinds of reasoning (for example, metaphorical reasoning). Subsequently, we will move to the two greatest philosophers of the classical period: Plato and Aristotle. Each of these two demands an entire course devoted to discussing their philosophy, and I have instead selected sub-topics within which they have been greatly influential in the Western philosophical tradition: for Plato, we will discuss his political philosophy, namely, his conception of an idea state. for Aristotle, we will discuss the principles he establishes for ‘good artwork’, specifically, tragedy. In the final three lessons, we will turn to three important post-Socratic or Hellenistic schools of philosophy (mid-fourth century BCE to late antiquity in some cases): Cynicism, Stoicism, and Epicureanism.

Our focus here will primarily be on ethics (on the proper virtues which each school recommends); at the same time, the ethical assumptions of each of these schools need to be understood within their particular view of the physical world. Throughout the lessons, I will provide students with close readings, key passages which we will analyze, composed of important fragments from the selected philosophers. These readings will serve as discussion points after my brief introductions to the given writer/philosophical movement.

Course Outline:

Week One
• Introduction to Ancient Philosophy: Overview and Methods
• The Pre-Socratic Philosophers: Pythagoras, Parmenides, Democritus, and Empedocles
Week Two
• Heraclitus: Movement, Harmony, and Oppositions in nature
• Plato and Utopianism: A Close Reading of the Critias and Republic
Week Three
• Aristotle and Aesthetics: The Principles of Writing Tragedy
• The Virtues of Cynicism: Self-Independence, Free Speech, and Endurance
Week Four
• The Virtues of Stoicism: Practical Reason, Justice, Temperance, and Courage
• Epicureanism: A Close Reading of Epicurus’ Letter to Menoeceus

This sixth-month programme consists of six individual learning modules. Each module will consist of eight lessons spread over four weeks. The focus of these modules is three-fold: 1) to introduce you in a relaxed way to the essential grammar of the Latin language (from the basics of noun declensions to the subjunctive uses of verbs); 2) to build your Latin vocabulary (to something around 2,000 words at the end of the six modules); and 3) to learn to enjoy reading basic Latin texts. The last of these is most important. Grammar is not an end in itself but helps us understand texts in a more accurate manner and to become more fluent. The grammar which you will learn roughly follows the order prescribed by Shelmerdine’s Introduction to Latin, which will serve as textbook throughout the modules. In addition to the translation and grammar exercises she provides, I will provide you with tailored ‘modernised’ Latin passages, including passages from The Lord of the Rings, Harry Potter, and other literary and historical works. In a given week, the basic idea is for the first lesson to be more instructional, focused on explaining key grammatical constructions, while the second lesson will take the form of a workshop, where we will translate passages together, and where I can help answer questions from homework assignments.

The path to language proficiency lies in making many mistakes (and not being ashamed of these) and in extensive daily practice.

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

The Secret History, the 1992 debut novel of Pulitzer Prize-winning author Donna Tartt, has its own secret history, including an origin story at an actual college campus and inspiration from a real-life missing person case. The celebrated novel opens with the murder of a Classics student by his eccentric and close-knit group of college friends. The tale then unfolds as an inverted mystery, a “whydunit” rather than a “whodunit,” a narrative that interrogates the nature of obsession, beauty, and education.

Featuring ingredients of the campus novel, the coming-of-age story, and the New England Gothic, The Secret History has long been hailed as a modern classic, and now it’s been rediscovered by a new generation of readers who consider it a foundational text of Dark Academia storytelling. Why does this mystery have such staying power? How does it serve as a turning point in genre history? And how do its haunting themes relate to us and our search for knowledge today? In this module we will explore the fictional Hampden College and peel back the literary layers of The Secret History.

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

Outline	8-Session Structure
Week 1	Lecture 1: The Secret History as Memory
	Discussion 1: Part 1 of The Secret History
Week 2	Lecture 2:The Secret History as Mystery
	Discussion 2 Part 2 of The Secret History
Week 3	Lecture 3: The Secret History as Tragedy
	Discussion 3: Part 3 of The Secret History
Week 4	Lecture 4:The Secret History as Influence
	Discussion 4 Themes and Takeaways

Shirley Jackson is rightly celebrated as a master of Gothic storytelling thanks to her most well-known novels such as The Haunting of Hill House (1959) and We Have Always Lived in the Castle (1962). In recent years, however, her earlier novel Hangsaman (1951) has received new attention and critical appreciation from fans and scholars alike.

Far ahead of its time when it was published, Jackson’s deeply personal Hangsaman is many things: a psychological study of a young woman’s coming of age; a haunting Gothic mystery; a pointed critique of gender roles, family dynamics, and higher education; a meditation on trauma and mental illness; and an ancestor of today’s dark academia storytelling. Shirley Jackson drew inspiration from a variety of sources to craft this remarkable campus novel, from folk ballads and the Tarot, myth and ritual, to a real college campus and an unsolved New England cold case of a missing sophomore student.

In this module, we will unpack this gem of a Gothic story, following freshman Natalie Waite as she searches for her “essential self” and discussing why Hangsaman feels freshly relevant and important to many readers today.

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

Outline	8-Session Structure
Week 1	Lecture 1: Shirley Jackson and the Gothic
	Discussion 1: Part 1 of Hangsaman
Week 2	Lecture 2: Dark Academia and the Missing Student
	Discussion 2: Part 2 of Hangsaman
Week 3	Lecture 3: Transformation and the "Essential Self"
	Discussion 3: Part 3 of Hangsaman
Week 4	Lecture 4: The Influence and Legacy of Hangsaman
	Discussion 4: Themes and Takeaways

Last Seen Wearing (1952) by Hillary Waugh is hailed by genre scholars as the first acclaimed “police procedural” novel, a pioneering work of crime fiction that shifted the focus from the lone single detective to investigative team members and their process. Paving the way for modern police procedural novels – not to mention television phenomena such as Law and Order, CSI, Criminal Minds, and other series – is distinction enough, but Last Seen Wearing is also of literary interest for other reasons. The novel uses a real-life true crime case as a springboard for its fictional investigation, and, in its exploration of a missing student at an elite women’s college, it also builds on the tradition of the campus mystery, employs ingredients of the New England Gothic, and anticipates the rise of dark academia.

In this module we will consider how Last Seen Wearing serves as both a pioneering novel and a window into its moment in time. What does Last Seen Wearing tell us about the intersection of fiction and true crime? Gender and the Gothic? What has “aged well” in the story and what hasn’t, and what does this tell us about the evolution of mystery-related storytelling? And what can we learn about the blending and blurring of genres from this fictional solution to a real-life cold case?

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

Outline	8-Session Structure
Week 1	Lecture 1: Crime Fiction and Its Evolution
	Discussion 1: Part 1 of Last Seen Wearing
Week 2	Lecture 2: True Crime, Campus Mystery, and the Imagination
	Discussion 2: Part 2 of Last Seen Wearing
Week 3	Lecture 3: The Police and the Process
	Discussion 3: Part 3 of Last Seen Wearing
Week 4	Lecture 4: The Meaning and Legacy of Last Seen Wearing
	Discussion 4: Themes and Takeaways

Join us as we continue learning (advanced) basic Japanese, focusing on the areas of reading and listening comprehension, with some attention to speaking and writing. Over the course of this module series we will work our way through the Genki II textbook, building upon the foundation built from the Genki I text. 一緒に日本語を勉強しませんか

Recorded Series: All sessions of this series are being recorded and provided afterwards to enrolled students in order to support the learning of the group.

This course is for those who have an interest in Japanese culture and wish to continue our study of Japanese. We will continue using Hiragana, Katakana, and Kanji, and covering grammatical structures. Through use of conversational Japanese, we will continue to explore how the language is used in anime, manga, and music.

Japanese is a language of great nuance and depth. This module will open the door to that world and build a foundation for greater insight into Japan's culture and its people.

In this series we’ll study Japanese using different tools such as videos, games, and different exercises. We’ll explore different aspects of Japanese culture and work on more complex vocabulary, grammar, and sentence patterns. We’ll also watch lots of videos, play games, and read graded readers among other things.

Note: Japanese Through Culture is for students who already have a basic level of Japanese.

This series will help introduce students to the breadth and depth of texts available for study in Middle High German. Each month, Dr. Isaac Schendel surveys the group to see which text students are most interested in exploring next.