Comparative Mythology 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 various religious traditions generally covered by the umbrella term "Hinduism." We will start with an overview of some of the methodological challenges faced when studying these traditions, and then turn our attention to some of the major streams of Hindu history and practice, including those of Vedic religion, Upanisadic religion, and various Bhakti traditions. Time permitting we will then move on to Raja Yoga and Advaita Vedanta, followed by developments in modern Hinduism. [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]

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]

The literature containing Norse mythology remains one of the most fascinating bodies of medieval storytelling anywhere. Participants will make sense of Norse myths by examining the structures of the tales and investigating the background in which they were written down in manuscripts. Explore Norse mythology with Old Norse expert Dr. Paul Peterson! [show less]

How can we rise through suffering to become heroic? This hybrid module takes a deep dive into the stages of the hero’s journey structure and its applicability to your story. Considering different approaches to the Joseph Campbell’s monomyth, you will have the opportunity to share and reflect upon your character’s journey in supportive workshops. Whether your hero is slaying a dragon or exploring the dark depths of their psyche, this module will help you craft an epic journey. The module will follow an 8-lesson structure as follows: • Lecture 1: Introduction to the Monomyth • Workshop 1: Call to Adventure • Lecture 2: Archetypes • Workshop 2: Challenges and Temptations • Lecture 3: The Heroine’s Journey • Workshop 3: Death and Rebirth • Lecture 4: Challenging the Monomyth • Workshop 4: Transformation, Atonement, Return [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]

Sudying fairy tales takes us back to a time when stories where passed from culture to culture. These stories, replicated around the world, deal with fears and axieties, but they also give us hope as it is the smallest and most vulnerable the one who usually triumphs. In these modules, we will explore different authors and fairy tales from around the world. Students will have the opportunity to read and re-read the Grimm brothers, Hans Christian Andersen, Andrew Lang, Oscar Wilde and fairy tales from differnet cultures such as Russia, and Japan. Each month, our preceptors will survey the group using to see which text students are most interested in exploring next. We offer the following Fairy Tales Studies modules: • Fairy Tales: An Adventure from the Writer's Perspective • Fairy Tales: From Apples to Bears • Fairy Tales: Rats, Mice, and Birds • Fairy Tales: Tricksters, Fools, and Villains • Introduction to Hans Christian Andersen's Fairy Tales • Introduction to Oscar Wilde's Fairy Tales: A House of Pomegranates • Introduction to Oscar Wilde's Fairy Tales: The Happy Prince and Other Tales • Japanese Fairy Tales and Children's Literature • Russian Fairy Tales: Journeys, Quests, and Chicken Legs • Yōkai and Legends: Exploring the Weird in Japanese and Latin American Cultures • Encountering the Japanese Weird through Lafcadio Hearn's Kwaidan • Exploring Smith of Wootton Major and Farmer Giles of Ham • Fairy Tales: Beauty and the Beast Note: Each module stands on its own and no previous knowledge is required. The idea is to read and discuss these stories, their themes, imagery, and see how we respond to them. [show less]

The Dark Crystal, a film directed and created by Jim Henson and Frank Oz, was released at Christmastime in 1982. An attempt at a more mature and decidedly darker direction for Henson, it performed modestly in the box office to mixed reviews. Despite its poor initial beginnings, over the next 42 years, The Dark Crystal became a cult classic. Why the appeal all these years later? In this class we will explore this multifaceted dark fantasy as a stand of world building from the better appreciated “Muppet” canon. Over the course of eight sessions we will discuss the world of Thra through the film itself, seen afresh with the new lenses of various forms of modern criticism. Please join us for a combination of short lectures and lively discussion of this visual and technical masterpiece whether you’re a long-time fan or neophyte. [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]

As classical mythology is often the gateway into mythological studies, so too will this course be your gateway into classical mythology. We will explore the mythology of the Greco-Roman world in broad strokes, familiarizing ourselves with gods and heroes, before ending the module by dabbling in a bit of comparative mythological study. In doing so, we'll look at excerpts from a few classical authors (in translation), as well as some artifacts and possibly even some historical sites. Session 1: Welcome to Classical Mythology Lecture Session 2: Discussion about the Myths of the Twelve(ish) Olympians Session 3: Living in a World of Humans and Gods Lecture Session 4: Discussion about Myths of Love & Daring Session 5: Heroes & Demigods Lecture Session 6: Discussion about Myths of Herakles Session 7: Comparative Mythology Lecture Session 8: Discussion about Mythic Forms and Archetypes [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]

In this module, we will take a guided journey through the first book of Ovid’s Metamorphoses, one of the most influential works of classical literature. Designed for those with at least a basic knowledge of Latin, the module invites you to read the original text closely, exploring its grammar, metrics, and storytelling. Sessions will run like a collaborative reading group: you will prepare sections of the text in advance using a specially prepared student edition, then we will work through the passages together—pausing to address questions, clarify difficult points, and follow areas of interest raised by participants. Along the way, we will consider why Ovid’s epic of transformations has captivated readers for centuries, inspiring countless works of art, literature, and philosophy. Whether you are drawn to its mythological richness, its poetic artistry, or simply the joy of reading Latin in community, this module offers both structure and freedom to deepen your appreciation of Ovid’s masterpiece. Session 1: Creation (Lines 1-88) Session 2: The Golden, Silver, Bronze, Iron Ages; the Giants; Jupiter threatens to destroy the world (Lines 89-198) Session 3: Lycaon; The Great Flood (Lines 199-292) Session 4: The Drowned World; Deucalion & Pyrrha (Lines 293-380) Session 5: Recreation of the world; Python; Daphne and Apollo (beginning) (Lines 381-472) Session 6: Daphne & Apollo (cont); Inachus mounts for Io (473-587) Session 7: Io (588-688) Session 8: Syrinx, Io returned to human form; Phaeton (689-779) [show less]

While the idea of establishing an ‘actual’ utopia has been disparaged since the first half of the twentieth century from socio-political perspectives (e.g. the failed age of ideology from 1917-1945), literary and related cultural narratives have a long history of imagining and representing utopia (also paradise, the golden age, etc.). These utopias often function to criticize the problematic social norms and climates of their times as well as providing progressive imaginings for a better future, often based on certain ideals or virtues. In this module, we go on a chronological tour of different representations of utopia, including: the paleolithic utopia of hunter-gatherers (e.g. as discussed in Harari’s Homo Sapiens) (before 10,000 BC), the Bronze Age utopia of Minoan Crete (4000-1400 BCE), Plato’s mythical island of Atlantis (ca 400 BC), the pastoral utopia of the Roman poet Virgil (ca 40 BC), the New World utopia of Sir Thomas More (1516), the Enlightened, reasoned utopia of Robinson Crusoe (1719), Tolkien’s fantasy utopia of Númenor (ca 1940), and more. [show less]

In this module, we will discuss the aspects of the Force as depicted in Star Wars films, tv, and video games. We will look at specific characters and cults (Jedi v. Sith, the Bendu, Nightsisters, etc.) to understand where they fit in the wider mythology far far away, as well as other mystical motifs and ideas (Mortis, the World Between Worlds). There are tons of different topics to choose from, so there will be plenty to discuss in this course. [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]

Imagine a witch. Perhaps, she is a solitary crone, living in a cottage on the outskirts of the village, in equal measures reviled and grudgingly respected by the villagers for her knowledge of midwifery and healing herbs. Perhaps, she is a self-possessed attractive young woman, persecuted by an oppressive authority for her feminist outlook. Perhaps, she is sexually liberated, she conducts strange rituals tied to the land’s fertility, she speaks of the Old Faith as a secret knowledge passed on in secret alongside the official religion. This image of the witch owes much to Margaret Murray’s Witch-cult Hypothesis, an idea that people accused of witchcraft in the medieval and early modern period in the Western world, were the inheritors of a prehistoric fertility cult, which survived as a covert practice alongside Christianity for millennia. Despite being rejected as academically spurious, Murray’s work continues to be incredibly influential for practitioners of modern witchcraft and in popular culture. In this course, we will take a close look at Murray’s claims, and place them in a historical and cultural context. We will venture outside the academic setting to read witchcraft handbooks and genre fiction, where the witch-cult hypothesis continues its fascinating afterlives. [show less]

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. [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]

This course examines how J.R.R. Tolkien constructed his secondary world with the deliberate craft of a mythmaker and the precision of a master architect. Designed for participants already familiar with Tolkien's major works, the course delves into the rich philosophical, linguistic, and cultural foundations of Middle-earth. Each discussion session analyses the building blocks of Tolkien's mythological framework: his theory of subcreation, cosmological blueprints, linguistic foundations, character archetypes, moral frameworks, environmental design, and how these elements combine to create an enduring fictional universe. Participants will engage with primary texts alongside Tolkien's essays, letters, and posthumously published materials to gain deeper appreciation of how his scholarly background in philology and medieval literature informed his creative vision—illuminating how Tolkien constructed one of literature's most enduring secondary worlds. Session 1: The Mythmaker’s Vision Learning Objectives: • Understand Tolkien’s theory of subcreation and its theological underpinnings • Examine how Tolkien’s academic background influenced his creative work • Introduce key concepts that will frame the entire course Session 2: Creation Myths and Cosmology Learning Objectives: • Analyze Tolkien’s creation myth and its structural significance • Compare Tolkien’s cosmology with other world mythologies • Understand how Tolkien’s cosmological foundation shapes his entire legendarium Session 3: Languages as Cultural Foundation Learning Objectives: • Examine how Tolkien’s invented languages shape his fictional cultures • Analyse the relationship between language evolution and historical events in Middle-earth • Experience the aesthetic qualities of Tolkien’s linguistic creations Session 4: The Hero’s Journey Through Ages Learning Objectives: • Trace the evolution of heroic archetypes Session 5: Power and Corruption Learning Objectives: • Analyse the Ring as a symbol of power and its corrupting influence • Compare various characters’ responses to power and temptation • Explore Tolkien’s views on power, authority, and moral choice Session 6: Death, Immortality and Time Learning Objectives: • Understand Tolkien’s treatment of mortality as a gift rather than a curse • Explore the philosophical and theological dimensions of immortality in Middle-earth • Analyse Tolkien’s personal reflections on death through his fiction Session 7: Nature, Technology and Modernity Learning Objectives: • Examine Tolkien’s environmental themes and their contemporary relevance • Analyse the contrast between natural harmony and industrialization in Middle-earth • Connect Tolkien’s environmental concerns to his personal experiences Session 8: Legacy and Influence Learning Objectives: • Evaluate Tolkien’s impact on fantasy literature and modern mythology • Explore posthumously published works and their contribution to understanding Tolkien • Reflect on the course themes and their integration in Tolkien’s work Reading List by Session Session 1: The Mythmaker's Vision - "On Fairy Stories" (essay) - Focus on concepts of "subcreation," "recovery," "escape," and "consolation" - "Mythopoeia" (poem) - Complete - Letter #131 to Milton Waldman - Selected paragraphs on Tolkien's passion for myth and fairy-story Session 2: Creation Myths and Cosmology - "Ainulindalë" and "Valaquenta" from The Silmarillion - Complete - "The Music of the Ainur" from The Book of Lost Tales, Part One - Focusing on differences from the published Silmarillion version - Selected passages from Morgoth's Ring - "Myths Transformed" essays I and II Session 3: Languages as Cultural Foundation - Appendix F from The Lord of the Rings: "The Languages and Peoples of the Third Age" - "The Lhammas" from The Lost Road and Other Writings - Introduction and sections on Elvish languages - Elvish poems with translations: "Namárië" and "A Elbereth Gilthoniel" - Complete texts with pronunciation guides Session 4: The Hero's Journey Through Ages - "Of Túrin Turambar" from The Silmarillion - Sections describing Túrin's character and major confrontations - From The Hobbit: "Riddles in the Dark" and "The Last Stage" - Complete chapters - From The Lord of the Rings: "The Shadow of the Past" and "The Bridge of Khazad-dûm" - Complete chapters Session 5: Power and Corruption - "Of the Rings of Power and the Third Age" from The Silmarillion - "The Council of Elrond" from The Fellowship of the Ring - Discussions of the Ring's history and power - "The Mirror of Galadriel" and "The Breaking of the Fellowship" from The Fellowship of the Ring Session 6: Death, Immortality and Time - "Akallabêth" from The Silmarillion - Sections about the Númenóreans' growing fear of death - "Leaf by Niggle" - "Athrabeth Finrod ah Andreth" from Morgoth's Ring - Dialogue about mortality - Letter #153 - Sections discussing the "doom and gift" of mortality Session 7: Nature, Technology and Modernity - "Treebeard" and "The Voice of Saruman" from The Two Towers - "The Scouring of the Shire" from The Return of the King - Tolkien's foreword to the second edition of The Lord of the Rings - Letter #178 - Sections discussing industrialization Session 8: Legacy and Influence - "The Quest of Erebor" from Unfinished Tales - "The Notion Club Papers" from Sauron Defeated - Frame narrative and discussions of time and memory - "Epilogue" from The History of Middle-earth, Vol. XII: The Peoples of Middle-earth - Selections from The Road to Middle-earth by Tom Shippey - Chapter 1 "Lit. and Lang." 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Whereas figures like Odin, Thor or Freyr dominate the Viking mythical landscape, Norse spirituality goes way beyond the texts of the Poetic Edda. For the Viking mind, spirituality would have infused all aspects of daily life in a fascinating mix of sacred and profane. Paganism was most likely never a unified system of belief, and may have been much more complex and diverse than our current sources can let us know. Beyond semi-structured beliefs, we also encounter more practical forms actively trying to influence the environment – sorcery, most often referred to as seidr, a collective term to designate soothsaying, divination, healing, controlling weather, battle magic and much more. In this module we will be critically exploring the sources for such powerful practices, the vocabulary of sorcery, as well as attempting to enter the Viking soul in search of its logic and manifestations through everyday witchcraft, while confronting the great hindrances in the study of an elusive phenomenon. Why is Odin a god of sorcery? Who performed magic in Viking times? Was it gendered? Was sexuality involved? What did magic reveal, and how was it perceived? Put your name into the goblet of mead and let‘s get started. [show less]

After having discussed the complex phenomenon of seidr magic in module 1, we are going to have a closer look at its most violent practices. Beyond domestic practices, sorcerous aggression manifested e.g. through driving the enemy insane, sending spirits to attack, causing misfortune and on a much broader scale on the battlefield. A clear projection of supernatural intervention is offered by Odin‘s servants the valkyrjur, but also shapeshifting berserkers caught by ritual frenzy, with powers stemming from Odin himself, “The Terrible” in his sorcerous role. Battle spells also seem to have been preserved as literary remnants with a chance at authenticity derived from ideas in older poems, like ideas about war-fettering, invulnerability or disguise. These elements of sorcery buried deep in the often problematic sources might help us better understand the potential mindset of pre-Christian Northern peoples and illuminated the often too tightly defined warrior identity. [show less]

In this module we will attempt to integrate the evidence from literary and archaeological sources into a broader context of shamanistic northern religions. In the Icelandic sagas in particular, there are indications about the operative magical practices of the Sámi - one famous queen, Gunnhild (the wife of Eric Bloodaxe) is even said to have travelled to the Finns to get sorcerous instruction. In Norse myth, cosmology dwells on the world pillar, the ash tree Yggdrassil, while Odin's horse Sleipnir has the power to cross between worlds. Shamanism as a means of accessing supernatural forces through ecstasy may have enhanced the Viking mind with challenging ideas about gender, shapeshifting, or violence that are well worth our attention. [show less]

This is the Landing Page for Prof. Irina Manea's Viking Hogwarts series exploring The World of Old Norse Sorcery. In the first module, A Guide to Old Norse Magic, we will be critically exploring the sources for such powerful practices, the vocabulary of sorcery, as well as attempting to enter the Viking soul in search of its logic and manifestations through everyday witchcraft, while confronting the great hindrances in the study of an elusive phenomenon. Next, in the Battle Magic and Mythology module, we will take a closer look at the most violent practices in Old Norse Sorcery. Beyond domestic practices, sorcerous aggression manifested e.g. through driving the enemy insane, sending spirits to attack, causing misfortune and on a much broader scale on the battlefield. The elements of sorcery buried deep in the often problematic sources might help us better understand the potential mindset of pre-Christian Northern peoples and illuminated the often too tightly defined warrior identity. Finally, in the Shamanistic World Views in Norse Magic module, we will attempt to integrate the evidence from literary and archaeological sources into a broader context of shamanistic northern religions. [show less]