Ancient Middle East Portal (List View)

An examination of who used magic in Egypt, with an emphasis on characters within literary genres and known professions. This includes the story of Khufu, the Nubian sorcerers, the use of Shabtis, and later stories, including Lucian and the inspiration for Fantasia. This also includes priests, healers, and professional magic users. What do we know about fictional and nonfictional magic users? How and why did they practice? What areas did they work in? [show less]

Many readers around the world are familiar with the Old Testament, especially in western civilization. But did you know other cultures from the Ancient Near East also contained comparable genres of literature? Epics, annals, legal texts, hymns, wisdom literature, and prophetic oracles are all extant from various cultures of the ancient world. In this course, we will read together some of these works of ancient literature and discuss in relation to their literary counterparts in the Hebrew Bible. [show less]

In this module we will cover the basics of Islamic Religious tradition, thought, and practice. A basic biography of the Prophet Mohammed (PBUH), the development of the early Islamic movement (the Ummah), division into the Sunni and Shi'ite forms of Islam, Islamic cosmology, the Four Orthodox schools of the interpretation of Sharia, and the development and practice of Sufism will all be covered. Time permitting, we will touch upon developments in modern Islam. [show less]

In this module we will explore the sacramental worldview and practices of Eastern Orthodoxy and Catholicism, with maybe a bit of Anglicanism thrown into the mix. We will cover what a sacramental worldview consists of, what the sacraments themselves are, what sacramentals are and how their use is justified within these traditions theologically and historically, and related topics. [show less]

Whenever we see a painting or a sculpture we might think many different things; we might wonder why we like or dislike it; what is its meaning; and why the artist created it in that way. In this series we will explore different art periods, movements, and artists. We will discuss the context, symbolism, style, and what each of these periods/ movement/ artists tells us today. Some of the questions we will ask during these modules are: what is art? How is art different from arts and crafts? What is the purpose of art? Why are some art pieces famous? What are some of the most prominent styles? Why are some artists, such as Vincent Van Gogh, so popular today but not during their own time? How and why do we relate to different pieces in different ways and with different emotional responses? Each module stands on its own and no previous knowledge of Art History is required. The idea is to engage with the different topics from different lenses and to share different ideas and opinions about them. [show less]

This module considers the gospels in their contexts; addressing their genre, the communities to whom they are addressed, their origins, early tradition and legend about how they came to be, comparisons of their literatures to other Hellenistic and Near Eastern ones, the synoptic problem, and related issues. [show less]

The premise for this course is that the Primeval History (i.e. Genesis 1-11) provides the key conceptual roadmap for how to understand the rest of the biblical narrative (especially the OT, but pertaining to the NT as well). Once the reader begins to see these connections, an entire world is opened up, because subsequent biblical authors continue to build on the foundational elements introduced in the early chapters of Genesis. This course is designed for a reader to learn how to see these elements for themselves so that the student can continue to explore them in the future in the rest of the biblical literature and in literature outside the Bible as well. This course would deal with topics pertinent specifically to Genesis 1-11. For example: is Genesis 1-11 properly classified as "history," or "myth," or something else? And on the spectrum of literal versus non-literal interpretation of texts, what should be applied? Are there any textual indicators for these things, and if so, how do we recognize them? [show less]

Introduction to the non-god, non-human, entities in ancient Egypt. Demons were guardians, messengers, and performed other duties, usually as intermediaries between the gods and men. We will consider the category of “demon”, their roles, descriptions, and how they changed over time in the Egyptian worldview. How were demons viewed and why were they necessary? How did they relate to other cultures? What became of Egyptian Demons in later periods? [show less]

The Hieroglyphics series will present students with a basic understanding of Egyptian hieroglyphs, grammar, and knowledge about how to proceed with further study. In this series of 4 modules, we will discuss how to translate steles that you are likely to encounter in museums, as well as their cultural significance. As student progress, the class will tackle more complex translation. Each one-month module builds on the previous one, so students ready to learn Hieroglyphics will communicate with our Director and Professor Gaffney to make the right placement for everyone. [show less]

This is the Landing Page for Prof. Shawn Gaffney's series exploring Ancient Magic. Introduction to Ancient Magic: The Earliest Magic provides a short survey of the earliest known magical texts and objects, including the Pyramid texts, Sumerian exorcism spells, and objects used in different apotropaic rituals. Divination and other forms of magic will be included as well. What was the earliest magic? What did it do and how did it work? Who practiced magic? How was magic related to religion? Introduction to Ancient Magic: Magic in the Greco-Roman World looks specifically at the Greco-Roman world, magic in myth and literature, and specific spells and objects in use throughout the classical world, including their relations to Mesopotamia and Egypt. This includes the Greek magical texts. What types of magic did they use? Who practiced them and why? Introduction to Ancient Magic: Magic from Late Antiquity to the Early Modern World examines the use of magic in the early Christian world, its relationship with contemporary magic, and related texts. This module explores the origins of this magic, how it was used, and how it evolved over time. We will look at both religious and non-religious magic through a number of examples, both verbal spells and magical items, such as Aramaic incantation bowls. ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Note: Students can jump in at any month/part of the Series. There are no prerequisites. [show less]

In this module we examine the use of magic in the early Christian world, its relationship with contemporary magic, and related texts. We will explore the origins of this magic, how it was used, and how it evolved over time. We will look at both religious and non-religious magic through a number of examples, both verbal spells and magical items, such as Aramaic incantation bowls. Note: This module was formerly called Ancient Magic 3. [show less]

In this module we look specifically the Greco-Roman world, magic in myth and literature, and specific spells and objects in use throughout the classical world, including their relations to Mesopotamia and Egypt. This includes the Greek magical texts. What types of magic did they use? Who practiced them and why? Note: This module was formerly called Ancient Magic 2. [show less]

An introduction to magic in the ancient world provides a short survey of the earliest known magical texts and objects, including the Pyramid texts, Sumerian exorcism spells, and objects used in different apotropaic rituals. Divination and other forms of magic will be included as well. What was the earliest magic? What did it do and how did it work? Who practiced magic? How was magic related to religion? Note: This module was formerly called Ancient Magic 1. [show less]

Demons have played a significant role in ancient cultures beyond just Egypt. Mesopotamia has its own set of liminal entities that reside somewhere between gods and man, with their own responsibilities and roles. This class will explore the features of these beings, including where they are first seen in literature, what roles they play, and what we know about them. Think Pazuzu from the Exorcist. [show less]

When one thinks of ancient, pre-classical civilisations, one thinks of Sumerians, Egyptians, Hittites, and, not least, Minoans. The Minoan civilisation, discovered around 1900 by English archaeologist Sir Arthur Evans, has often been styled as the first major European civilisation, equally proficient in technology and the arts, with a sea empire spanning across the Eastern Aegean. But how much of what we imagine about the Minoans is truthful and how much is modern mythmaking? In this module, we will examine the immense impact which the discovery of Minoan Crete and its integration with the classical myths of the Minotaur and the Labyrinth has had on literature, movies, the arts, and even computer games. We will examine the works of Sir Arthur Evans, Pablo Picasso, Nikos Kazantzakis, Robert Graves, Mary Renault, Poul Anderson, and Stephen King, among others. In so doing, we will explore such key 'Minoan' concepts and phenomena as: the sublime, utopianism, feminism, irrationality and the unconscious, mythmaking, and European identity. [show less]

The Egyptians had a complex view of non-Egyptians. They were both threatening enemies but also potential Egyptians. This course will look at how the Egyptians viewed and depicted the other, the role of the other, and the change in many cases, of other to countryman. This will include a survey of art, literature, and magic as it relates to depicting, describing, and affecting the other and how this reinforced the Egyptian identity. Who were the “others” in the Egyptian worldview? How were they to be interacted with? Who where the Egyptians in their own view? [show less]

The basic premise of this module is that 1) there are some systematic similarities and dissimilarities between Tolkien's works (especially his legendarium) and the corpus of literature called the Old Testament; and 2) understanding these systematic similarities and dissimilarities enriches the reader's understanding and appreciation for BOTH bodies of literature. Fundamentally, both Tolkien's legendarium and the Old Testament address issues of metaphysics through the vehicle of narrative (with poetry and other genres sprinkled in, of course!). Session 1: Intersections of Tolkien and the Old Testament (introductory -- literary, mythological, theological) Session 2: Intersections of Archetypes (literary) Session 3: Intersections of Typology (literary) Session 4: Intersections of Salvation and Judgment (mythological) Session 5: Intersections of Death and Life (mythological) Session 6: Intersections of the Human Condition (theological) Session 7: Intersections of the Divine Being (theological) Session 8: Intersections of Textual Criticism (literary) [show less]

The Old Testament is remarkable among other works in ancient Near Eastern literature for its prominent inclusion of women in the narrative. This is especially noteworthy, considering that ancient Israelite society was a patriarchal society. This course explores the lives of individual women in the narrative and focuses on their collective contribution to the entire body of OT literature. Most notably, the Old Testament contains two books named specifically for women ("Ruth" and "Esther"), and three prominent hymns are explicitly attributed to female authors (Exodus 15, Judges 5, and 1 Samuel 2). Undoubtedly, the heroines of the Old Testament continue to inspire women (and men!) to this day. [show less]