Magic Portal (List View)

Expelliarmus! Let's read the seventh Harry Potter Book! We will get together twice a week to explore the series, reading through the books at a relaxed pace. Connect with fellow readers and share your insights as we discover (or rediscover) the magic. Over two months, we will follow seventeen-year-old Harry's adventures. With Voldemort ascendant, Harry and his friends are now fugitives. They must find a way to break the dark lord's power, or the Wizarding World is lost... This book club is all about sharing the moments of unexpected, joyful discovery through close reading. Focusing on the text, we will share our personal readings and experiences. We will learn from our classmates in a kindness-first, supportive environment. Together, we can tackle some big questions about the series. What was it about the Harry Potter books that resonated with so many people? To what extent is it possible or indeed desirable to separate art from artist? Most of all, however, we will have an inclusive dialogue that embraces a multiplicity of views and enriches our experience of the text. [show less]

Expelliarmus! Let's read the seventh Harry Potter Book! We will get together twice a week to explore the series, reading through the books at a relaxed pace. Connect with fellow readers and share your insights as we discover (or rediscover) the magic. Over two months, we will follow seventeen-year-old Harry's adventures. With Voldemort ascendant, Harry and his friends are now fugitives. They must find a way to break the dark lord's power, or the Wizarding World is lost... This book club is all about sharing the moments of unexpected, joyful discovery through close reading. Focusing on the text, we will share our personal readings and experiences. We will learn from our classmates in a kindness-first, supportive environment. Together, we can tackle some big questions about the series. What was it about the Harry Potter books that resonated with so many people? To what extent is it possible or indeed desirable to separate art from artist? Most of all, however, we will have an inclusive dialogue that embraces a multiplicity of views and enriches our experience of the text. [show less]

Avis! Let's read the sixth Harry Potter book! We will get together twice a week to explore the series, reading through the books at a relaxed pace. Connect with fellow readers and share your insights as we discover (or rediscover) the magic. Over two months, we will follow sixteen-year-old Harry's adventures as he fights to discover the secret of Voldemort's immortality. Rivalries become deadly and betrayals lurk around every corner... This book club is all about sharing the moments of unexpected, joyful discovery through close reading. Focusing on the text, we will share our personal readings and experiences. We will learn from our classmates in a kindness-first, supportive environment. Together, we can tackle some big questions about the series. What was it about the Harry Potter books that resonated with so many people? To what extent is it possible or indeed desirable to separate art from artist? Most of all, however, we will have an inclusive dialogue that embraces a multiplicity of views and enriches our experience of the text. [show less]

Avis! Let's read the sixth Harry Potter book! We will get together twice a week to explore the series, reading through the books at a relaxed pace. Connect with fellow readers and share your insights as we discover (or rediscover) the magic. Over two months, we will follow sixteen-year-old Harry's adventures as he fights to discover the secret of Voldemort's immortality. Rivalries become deadly and betrayals lurk around every corner... This book club is all about sharing the moments of unexpected, joyful discovery through close reading. Focusing on the text, we will share our personal readings and experiences. We will learn from our classmates in a kindness-first, supportive environment. Together, we can tackle some big questions about the series. What was it about the Harry Potter books that resonated with so many people? To what extent is it possible or indeed desirable to separate art from artist? Most of all, however, we will have an inclusive dialogue that embraces a multiplicity of views and enriches our experience of the text. [show less]

Merlin's beard, let's read the first Harry Potter book! By popular demand, here is the long-awaited Harry Potter book club! We will get together twice a week to explore the series, reading through the books at a relaxed pace. Connect with fellow readers and share your insights as we discover (or rediscover) the magic. First, we will go back to where it all began, Harry Potter and the Sorcerer's Stone. Over one month, we will follow eleven-year-old Harry's adventures as he commences his study at Hogwarts School of Witchcraft and Wizardry. Together, we will explore themes like friendship, courage, and the power of love. This book club is all about sharing the moments of unexpected, joyful discovery through close reading. Focusing on the text, we will share our personal readings and experiences. We will learn from our classmates in a kindness-first, supportive environment. Together, we can tackle some big questions about the series. What was it about the Harry Potter books that resonated with so many people? To what extent is it possible or indeed desirable to separate art from artist? Most of all, however, we will have an inclusive dialogue that embraces a multiplicity of views and enriches our experience of the text. [show less]

This Writer's Workshop will be for practicing the art of writing flash fiction, works that are of 500 or fewer words in length. This is a marvelous place for a new writer to begin as the size is not overwhelming. It is also a marvelous place for a seasoned writer to practice the craft of scene creation and characterization under severe creative restriction. We will read examples of flash fiction, and provide feedback for one another on original pieces that we shall write over the length of the course. For this we will use the Collaborative Feedback Method that we use in all Space creative writing courses, a method which emphasizes kindness and curiosity while still providing rigorous and useful feedback to the writer. [show less]

Terry Pratchett said that Tiffany Aching "...started with a girl lying down by a river, on the first page of The Wee Free Men". With the character of Tiffany, a witch-in-training with initially only a frying pan and her common sense to help her, Pratchett said that he wanted to "restate" the purpose of magic on the Discworld and the relationship between wizards, witches, and others. He included ideas of responsibility and "guarding your society" as he felt it drew closer to the reality of a witch – that is, "the village herbalist, the midwife, the person who knew things". Pratchett chose a young protagonist because when you're young "you have to learn," and he chose the name "Tiffany" because it evoked anything but a powerful witch. Throughout the series, Tiffany grows both as a young girl and woman and as a witch. In this course, we will follow the arc of Tiffany’s progress from naïve young girl to a powerful witch in her own right, who takes over from Granny Weatherwax, is hailed by the Nac Mac Feagle as their new ‘hag o’ the hills,’ and whose name, in their language, is Tir-far-thóinn or "Land Under Wave." Access to the listed texts is desirable. Prior knowledge of at least the majority of the listed texts will be assumed. [show less]

Terry Pratchett’s early work fits the category of parody, and his later work certainly maintains that early mocking spirit. In his later Discworld novels, however, especially The City Watch sequence, Pratchett turns his mocking lens from generic conventions and tropes to the dangerous ideologies and power structures that permeate contemporary urban life. Edward James calls The City Watch novels “the most political of Pratchett’s works,” and Neil Gaiman reminds us that “beneath any jollity, there is a foundation of fury.” Pratchett’s “fury” and the City Watch novels’ politics together invite us to consider the sequence as social satire and explore what Pratchett may be arguing needs to change, whilst still enjoying the novels for their humour and wonderfully entertaining narrative style. In this course, we will explore The City Watch novels and do exactly that: laugh and have fun whilst discussing the underlying messages that Pratchett offers us. Access to the listed texts is desirable. Prior knowledge of at least the majority of the listed texts will be assumed. [show less]

Like most literary Grim Reapers, Discworld’s Death is a black-robed skeleton (usually - he wears the Dean's "Born to Rune" leather jacket in Soul Music, and overalls in Reaper Man), carrying a scythe or, for royalty, a sword. He is an anthropomorphised personification of a natural process who sometimes has his duties carried out by his apprentice Mort, or his granddaughter Susan, and is occasionally accompanied by the Death of Rats. The Death of Pratchett’s Discworld is a parody of several other personifications of death; unlike many of them, though, he has a personality beyond this. As an immortal outside observer, Death is fascinated by humans, puzzled both by their stupidity and their fortitude despite it. Often out of concern for their well-being, or sometimes simply curiosity, he tries to understand the ways of humans – why and how they do the things they do. Needless to say, this leads to all sorts of disasters (including taking time off from his job reaping souls to become a farmer) but, in the process, Death learns ever more about humans and begins to sympathise with them. Death has many purposes in the narratives; however, in this compelling character, Pratchett has created a figure that makes us laugh but more importantly, he makes us think. In some ways, the Death series is ironically the most human of all. Access to the listed required texts is desirable and prior knowledge of at least the majority of those texts will be assumed. We will also be talking about Death’s appearances in other Discworld books, as well as in the short story "Death and What Comes Next" (provided as a pdf). [show less]

In this module we will read and discuss 104 strange tales collected by the 17th-18th century Chinese scholar, Pu Songling. Featuring Daoist/Taoist wizards, fox spirits, ghosts of all kinds, anomalous plants and animals, Buddhist wonder-workers, deities and immortals, Pu's collection has entertained audiences through centuries. Writers and artists as diverse as Jorge Luis Borges and Martin Buber have found inspiration in these stories, and several films and film franchises such as A Chinese Ghost Story are rooted in them. Preceptors Pilar Barrera and Dr. Robert Steed will lead class sessions, which will primarily focus upon participant discussion framed by preceptor commentary designed to situate these stories in their historical, literary, and religious contexts. [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]

Let's get together to discuss the eight Harry Potter films. Across one month, we'll get together to discuss each film in turn. What adaptation choices did the creators make and why? What works and what doesn't? What are the major themes of the films? And why did this film series become a phenomenon in its own right? This module combines the warmth of our cosy book club with the magic of film appreciation. [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]

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]

Over the course of two modules, we will cover the basics of Japanese religious history. Particular areas of focus will be Shintō 神道 tradition and various forms of Japanese Buddhism, shamanism, and Shugendō 修験道. Time permitting (unlikely) we can also touch upon Japanese New Religions and/or Japanese Christianity. [show less]

This course will be offered for the first time this October 2023 (Anne’s favourite month) Within weeks of its 1908 publication, L.M. Montgomery’s Anne of Green Gables became a bestseller. Over the years, this charming orphan story put Montgomery and her imaginative Prince Edward Island on a global map. Despite the fact that Anne of Green Gables is Canada’s bestselling novel throughout the world—or because of it—Montgomery was ignored by the literati and scholarship. Montgomery was a public intellectual, the first female Canadian fellow of the Royal Society of Arts, and invested Officer of the Order of the British Empire. Still she was dismissed as “just” a children’s writer, a regionalist, or a woman. It was 25 years after Montgomery’s death before children’s literature and feminist scholars began to recover her work as worthy of study. While there is a robust field of Montgomery scholarship, there are areas where our focus is sometimes too narrow. One of these is the category of “realistic” fiction. While there is a kind of verisimilitude about everyday life in the late Victorian era in her work, the realism is pressed to the margins of definition as Montgomery romanticizes the worlds she creates. And can we disagree that there is something magical about Anne herself? By changing our way of approach and by looking at Anne of Green Gables as a fantasy novel, what can we unveil in this classic novel? Native Prince Edward Islander and Montgomery scholar Brenton Dickieson will lead students through a rereading of Anne of Green Gables using the lenses we use to study fantasy and speculative fiction with the goal of allowing one of the greatest living children’s books to live in new ways. [show less]

This module looks at two late plays frequently overlooked in Shakespeare studies: Pericles, Prince of Tyre and Cymbeline. In Pericles, Shakespeare and collaborator George Wilkins present a medievalist fairy-tale of adventure on the high seas, set in the ancient Mediterranean and narrated by Middle English poet, John Gower. In Cymbeline, a princess’s attempt to rid herself of the suitor she loathes and reunite with the man she loves leads to a tangle of escapes, pursuits, and mistaken identities. Decried by some critics for their eccentric and eclectic plots, both plays feature grand voyages across land and sea, benevolent magic, and the loss and recovery of true love. [show less]

“There is nothing in the world so irresistibly contagious as laughter and good humor.” Let’s finish the year by savoring two of Dickens’ Christmas tales! A Christmas Carol is a beloved classic for a reason. Bitter and lonesome, the miserly Ebenezer Scrooge loathes Christmas and everything to do with it. Three ghostly visitations will show Scrooge the error of his ways, taking him on a transformative journey toward redemption. Published one year later, The Chimes is one of Dickens’ lesser-known Christmas stories. A poor man, the elderly Toby ("Trotty") Veck is convinced he and his family deserve their wretched condition. Is there any point giving his blessing for his daughter Meg to marry? A vision brought on by goblins invites him toward a gentler and more merciful understanding of the world, reminding him of the power of love at the turning of the new year. Together, these two Christmas novellas give readers hope in the face of poverty and despair. [show less]

A most fell warrior was he, whose deeds no man of the Mark could equal… Let’s read a tale that directly inspired Tolkien! Deep in the primordial Mirkwood, the free folk of the Mid-mark must take up arms to protect their home. When the Roman war machine rolls across their lands, the Valkyrie Wood-Sun and warrior chief Thiodolf rally their clan to save their idyllic way of life. An epic romance of survival and heroism in the face of overwhelming odds, William Morris weaves his tale through archaizing prose and verse. Inspired by Norse storytelling, The House of the Wolfings is by turns bloody and otherworldly, a celebration of community and the natural world. [show less]

“Seeing is not believing—it is only seeing.” The first modern novels to take place entirely in an imaginary world, George MacDonald’s fantasies were formative in the imaginations of C.S. Lewis and J.R.R. Tolkien. In this module, we’ll read MacDonald's children’s novels, as well as his essay, "The Fantastic Imagination." Eight-year-old Princess Irene is forbidden from exploring her father’s castle. Little does she suspect that hordes of goblins dwell beneath her feet, scheming to overrun the kingdom. Soon, a chance encounter with heroic miner (and occasional poet) Curdie sweeps Irene into an adventure of which she never dreamed. Enter a world where legends rise from a labyrinth under the earth and immortal grandmothers bestow magic rings from above, where rhymes drive back monsters and belief reveals the path home. [show less]

In Ghost Hawk, Susan Cooper turns her lyrical storytelling toward the early years of colonial America, weaving a tale that bridges worlds divided by culture, history, and loss. The story begins with Little Hawk, a young member of the Wampanoag people, who must face a solitary test of survival that will mark his passage into adulthood. When tragedy strikes, his path becomes bound to that of John Wakely, an English settler boy, and together their intertwined lives reveal both the possibilities of friendship and the devastating consequences of misunderstanding and conquest. Over eight sessions, we will read and discuss Ghost Hawk as both historical fiction and spiritual reflection, exploring Cooper’s portrayal of contact between Native and English worlds and her meditation on memory, belonging, and the legacies of colonization. We will situate the novel within its historical context—the early seventeenth century in New England—and examine how Cooper uses elements of myth and the supernatural to confront enduring questions of justice, identity, and reconciliation. Through guided discussion and close reading, we’ll consider howGhost Hawk challenges us to listen to the voices of the past and to think deeply about the stories a landscape holds. [show less]

In King of Shadows, Susan Cooper weaves together time travel, theatre, and history to create a powerful story about loss, belonging, and the transformative power of art. When young American actor Nat Field joins a troupe performing "A Midsummer Night’s Dream" at the newly rebuilt Globe Theatre, he is mysteriously transported to Elizabethan London, where he finds himself acting alongside none other than William Shakespeare. As Nat navigates the dangers and wonders of sixteenth-century England, he begins to discover what connects him—across time and grief—to the playwright and to the play itself. Over the course of this month-long, eight-session class, we will read and discuss Cooper’s novel in depth, exploring its key themes of identity, friendship, healing, and the endurance of creativity. We will also consider the historical and theatrical context of Elizabethan London, Shakespeare’s world and works, and the way Cooper blends fantasy and realism to bridge centuries. Through guided discussions and close reading, we’ll reflect on how King of Shadows speaks to both the past and the present, and why the story continues to resonate with readers today. [show less]

This is the landing page for Dr. Sara Brown's series on The Dark is Rising Sequence by Susan Cooper. Using the links on this page, you can explore each member of this series by going to its associated module page for more details. Note that students can jump in at any month/part of the series. There are no prerequisites. Susan Cooper’s classic fantasy series takes us into a world where the forces of the Light battle against those of the Dark, but these are also coming-of-age stories in which children are at the forefront of the conflict. Deeply rooted in the folklore of the British landscape, the narratives are often set in spaces encoded in ancient wisdom and traditions and employ, as Tolkien did in his legendarium, songs and verse that pass on those traditions. [show less]

Susan Cooper’s classic fantasy series takes us into a world where the forces of the Light battle against those of the Dark, but these are also coming-of-age stories in which children are at the forefront of the conflict. Deeply rooted in the folklore of the British landscape, the narratives are often set in spaces encoded in ancient wisdom and traditions and employ, as Tolkien did in his legendarium, songs and verse that pass on those traditions. In this book, the third of the series, we return to Cornwall with the Drew children and encounter more of the Cornish folklore and traditions we first saw inn Over Sea, Under Stone. Like the previous books in the series, this is an atmospheric and eerie story, steeped in magic and ancient folklore. The ‘Greenwitch’ of the title is a giant effigy made of sticks in the form of a woman, constructed by the women of Trewissick and sacrificed to the sea in a yearly ritual – not just an inanimate object, but a living being, with a mind of her own. This is ‘Wild Magic’, or the magic of nature, another element in the ongoing battle between Light and Dark. The Greenwitch holds the key to understanding the Grail, but the children will have to persuade her to give up her secrets before the agents of the Dark get there first. In this class, we will explore all the themes and ideas in the story and consider what it still has to say to us in the 21st century. [show less]

Susan Cooper’s classic fantasy series takes us into a world where the forces of the Light battle against those of the Dark, but these are also coming-of-age stories in which children are at the forefront of the conflict. Deeply rooted in the folklore of the British landscape, the narratives are often set in spaces encoded in ancient wisdom and traditions and employ, as Tolkien did in his legendarium, songs and verse that pass on those traditions. In this book, the first of the series, Cooper introduces us to the folklore of Cornwall, interweaving ancient customs with a modern confrontation against forces of evil. In this class, we will explore all the themes and ideas in the story and consider what it still has to say to us in the 21st century. [show less]

Susan Cooper’s classic fantasy series takes us into a world where the forces of the Light battle against those of the Dark, but these are also coming-of-age stories in which children are at the forefront of the conflict. Deeply rooted in the folklore of the British landscape, the narratives are often set in spaces encoded in ancient wisdom and traditions and employ, as Tolkien did in his legendarium, songs and verse that pass on those traditions. “‘Until the Lady comes,’ Merriman said. ‘And she will help you to the finding of the sword of the Pendragon, the crystal sword by which the final magic of the light shall be achieved, and the Dark put at last to flight. And there will be five to help you, for from the beginning it was known that six altogether, and six only, must accomplish this long matter. Six creatures more and less of the earth, aided by the six Signs.’” In this book, the fifth and final of the series, we return to Wales where Will Stanton, the Drew children, and the mysterious Bran must find the Lady who will enable them to complete their quest. All the Arthurian elements that have been evident in the previous four books now come together as the Six of the Light battle back the Dark to save the world. In this class, we will explore all the themes and ideas in the story and consider what it still has to say to us in the 21st century. [show less]

Susan Cooper’s classic fantasy series takes us into a world where the forces of the Light battle against those of the Dark, but these are also coming-of-age stories in which children are at the forefront of the conflict. Deeply rooted in the folklore of the British landscape, the narratives are often set in spaces encoded in ancient wisdom and traditions and employ, as Tolkien did in his legendarium, songs and verse that pass on those traditions. In this book, the second of the series, we are introduced to Will Stanton, who is approaching his 11th birthday. On Midwinter’s Eve, the day before his birthday, there is an atmosphere of fear that pervades the otherwise familiar countryside around him, but is the day itself that will be a birthday like no other. On that day, Will discovers that he has the power of the Old Ones, and that he must embark on a quest to vanquish the terrifyingly evil magic of the Dark. In this class, we will explore all the themes and ideas in the story and consider what it still has to say to us in the 21st century. [show less]

Susan Cooper’s classic fantasy series takes us into a world where the forces of the Light battle against those of the Dark, but these are also coming-of-age stories in which children are at the forefront of the conflict. Deeply rooted in the folklore of the British landscape, the narratives are often set in spaces encoded in ancient wisdom and traditions and employ, as Tolkien did in his legendarium, songs and verse that pass on those traditions. In this book, the fourth of the series, we are back with Will Stanton, who has been dangerously ill and has been sent to his aunt’s farm in Wales to recuperate. During Will’s illness, he has forgotten the details of the quest begun in the previous novels, but as his memories slowly return, he remembers that his next task is to find the golden harp that will awaken six sleepers who will join the final battle between Dark and Light. The villain this time is the Brenin Llwyd, or the ‘Grey King’, an ancient and powerful Lord of the Dark who lives high in the mountains, his breath forming a ragged grey mist that can be seen for miles around. In this class, we will explore all the themes and ideas in the story and consider what it still has to say to us in the 21st century. [show less]

The witch is one of the most contentious figures of the present day: from victim of persecution to stock character to magical practitioner the witch embodies our fears and desires. In the Anglosphere, the witch has been actively reimagined since at least the late nineteenth century. This module tackles some popular myths associated with the witch, explores their origins, and ask how these myths are used today. Are witches always female? Why do they fly on broomsticks and wear pointy hats? And where does a witch’s magic come from? The module answers these and other questions using a mix of historical, esoteric, literary and critical texts that get to the crux of how witches are depicted in fiction and history, and what witches themselves have to say about that. [show less]

The Gothic genre has inspired many creative minds to explore the darker realms of human psychology and the wider world, sparking fear, terror, horror and repulsion in its audience. J.R.R. Tolkien's Middle-earth is as much a ruined Gothic wasteland as it is an idyllic utopia. From Shelob's cave and the hypnotic Mirkwood to the Paths of the Dead and the Barrow-Downs, this module will examine Tolkien's use of Dark Romantic and Gothic techniques that were used by writers such as Horace Walpole, Mary Shelley, Edgar Allan Poe, Bram Stoker, and E.T.A. Hoffman to strike terror in the heart of their readers. The module will follow an 8-lesson structure as follows: • Lecture 1: The Funk of Forty Thousand Years: A Literary History of the Gothic • Workshop 1: Chilly Echoes in Tolkien's Middle-earth • Lecture 2: Bottomless Supernatural: Terror, Horror, Abject • Workshop 2: Conjuring Creepy Creatures • Lecture 3: The Weird, the Eerie, and the Dark Side of the Mind • Workshop 3: Defamiliarising Middle-earth • Lecture 4: Ruined Landscapes • Workshop 4: What is left? Can the Gothic recover Middle-earth? Note: The hybrid 8-lesson structure above is the new format for this module moving forward. [show less]

J.R.R. Tolkien famously 'found' his legendarium, translating and editing The Red Book of Westmarch for his twentieth century readers. This is not the first time an author has 'forged' a 'lost' literary history as James Macpherson's 'Ossian' documents from the 1760s started a craze for forgeries. Thomas Chatterton's Rowley and Turgot manuscripts similarly fed off the Ossian controversy while questioning what it really meant to 'forge' a document. The module will follow an 8-lesson structure as follows: • Lecture 1: The 1760s, the Age of Forgery • Workshop 1: Which Red Book are we reading? • Lecture 2: The Growth of Romantic Nationalism • Workshop 2: The Book of Lost Tales: a mythology for which England? • Lecture 3: Oral Traditions: Immortality and Youth • Workshop 3: Vocalising Myth and History • Lecture 4: Textual Traditions: Mortal Anxiety and Tangible History • Workshop 4: Writing myth and history Note: The hybrid 8-lesson structure above is the new format for this module moving forward. [show less]

The imagination and dreams are essential parts of J.R.R. Tolkien's world building which he explored across many stories from 'The Lord of the Rings' and 'On Fairy-stories' to 'The Notion Club Papers'. The same can be said of the Romantics who saw an important connection between the two. In works such as Samuel Taylor Coleridge's 'The Rime of the Ancient Mariner' and 'Kubla Khan', Lord Byron's 'The Dream' and 'Darkness', and Mary Shelley's 'Frankenstein', the imaginary and dream-like meet with awe-inspiring, melancholy or blood-chilling results. The module sessions are structured as follows: • Class 1: The Realms of (Childhood) Faery (60m) • Class 2: Faery’s Enchantment (60m) • Class 3: The Terror of the Night (60m) • Class 4: The Past is an Imagined Dreamworld (90m) • Class 5: Visions of the Apocalypse (60m) • Class 6: Senses and Sensation (60m) • Class 7: Glimpses, mere Fragments (90m) [show less]

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]