The Middle Ages Portal

We will continue onwards with our intensive reading and discussion of the text from wherever we end in "An Intensive Reading of the Tao Te Ching/Daode jing 道德經".

Zhuangzi is often presented as the second thinker of classical Daoist thought after Laozi, but in terms of impact on East Asian philosophy and fine arts, Zhuangzi is probably the more significant figure. We will read the text together, taking plenty of time to discuss participant interpretations, all within the framework of the preceptor-provided cultural and historical commentary. Zhuangzi is simply delightful, treating weighty topics with a light and humorous touch. Come join us for Free-and-Easy Wandering through this most idiosyncratic of classical Chinese texts!

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.

Always wanted to study Beowulf? Here's your opportunity. In our 8 hours together, we will delve into the worlds of the poem, examine the major critical elements, and seek to understand the poem better.

Read what Chaucer wrote in his own language! The famed Canterbury Tales are a wonderful read in Middle English and this module will focus on The Miller’s Tale.

In this mini module of four one-hour sessions, we will have fun with Latin Christmas Carols. Any "homework" is optional, texts will be provided, fun shall be had!!! Come and enjoy!

Note: This mini module is a special group experience designed for a small and intimate group of 3 to 4 students for the cost of 1 Token.

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!

One of the most beloved of all classical Chinese novels, Journey to the West features Monkey, Pig, Sand-demon, White Horse, and the monk Tripitaka as they make a pilgrimage from Tang-dynasty Chang’an to India to bring back Buddhist scriptures, having outrageous adventures all along the way. Full of humor and wit, this is a major work of East Asian fantastic literature. Come along with Monkey and the gang for a tour through this foundational text!

Considered to be one the major classics of pre-modern Chinese literature, Romance of the Three Kingdoms focuses on a story of political and military struggle featuring an impressive array of characters, many of whom have become touchstones of Chinese cultural heritage and artistic interest. This novel has spawned a wide arrange of operas, stories, video game series, musical compositions, television and web series, as well as garnering much academic attention since it was first published in the 14th century. Join us as we read, discuss, analyze, and place in its cultural and historical contexts this major work of Chinese historical fiction.

Sei Shōnagon 清少納言 is a major writer of the Heian period (794-1185) whose Makura no Sōshi 枕草子 (The Pillow Book) has intrigued and delighted reading audiences for centuries. Colorful, witty, incisive, charming, thoughtful, melancholy, poetic---these qualities and more characterize this diary of the famous lady of the court. Join us as we read this text in-depth and place it within the frame of the flow of Japanese culture and history.

“Whoso pulleth out this sword of this stone and anvil, is rightwise king born of all England.” This series explores the culminating masterpiece of medieval Arthurian literature: Sir Thomas Malory’s Le Morte Darthur (1470). Drawing together the most noteworthy and celebrated threads of earlier versions, Malory tells Arthur’s story from boyhood to death in a narrative sequence that would influence later retellings for centuries, and in striking language that, for many, defines the Arthurian tradition.

Working our way from beginning to end, the series covers all eight books or “tales” of Malory’s text in five modules. In addition to carefully reading the complete work, the series also provides context on Malory’s life and imprisonment during the Wars of the Roses, his book’s first publication in 1485 by English printer and editor William Caxton, and the remarkable twenty-first century discovery of the “Winchester Manuscript,” a now-standard but hitherto-unknown version of Malory’s text by medievalist Eugene Vinaver.

C.S. Lewis is one of the most prolific and influential writers of the 20th century. And yet, in his early career as an Oxford don, he viewed himself as a failed poet. Moreover, his most canonical and transformational writing happened during the most stress-filled periods of his life. This short course allows students to peek into the writing life of C.S. Lewis. Our goal is to see through the lines of printed text by visiting the letters and archival remains of Lewis in a virtual setting. Most of C.S. Lewis's papers remain undigitized and unpublished, available only locally at archives in North America and England.

As Professor Brenton Dickieson has visited these archives, he is able to invite students to appreciate C.S. Lewis's writing life by looking at the way that he consciously and unconsciously built his literary career. This course is for writers who are developing their own habits and literary life-prints, as well as folks who are curious about C.S. Lewis's life beyond the biographies and bestselling books.

We are not doing text close readings, but looking at the “paratextual” information available to us: writing drafts, letters, diary entries, manuscripts and typescripts, title, and the like.

Week 1: Lewis: Pen, Ink, Paper
• C.S. Lewis’s Single-jointed Self-Conception as a Writer
• What Lewis Says about his Writing Habits
• Legendary Bonfires, Stuffed Dolls, and American Suckers: A Story of Lewis’s Papers and Manuscripts
• The Screwtape MS. Story: Part 1

Week 2: Leaves, Bombs, Stains
• The Screwtape MS. Story: Part 2
• “Villainous Handwriting”: Charlie Starr’s Lewis Handwriting and Rough Draft vs. Fair Draft
• Reconsidering the Lindskoog Affair with Manuscript Evidence of “The Dark Tower”

Week 3: Joy, Theft, Death
• “The Quest of Bleheris”: Lewis’s Teenage Novel

Week 4:
• Is it True that Lewis Wrote in a Single Draft?
• A Grief Observed
• Tumbling Through the Wardrobe: The Discovery of Narnia
• Arthurian Torso
• A New Sketch of Lewis’s Writing Process(es)

Note: This course includes a significant amount of visual material on the screen. Please contact the SPACE team if you have visual accessibility requirements and we will do everything we can to accommodate.

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.

Over the course of this module, 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.

Picking up from where we left off in the first module, we will continue to explore the basics of Japanese religious history.

This course offers an in-depth look at the first complete “historical” narrative of the reign of King Arthur, Geoffrey’s Historia Regum Britanniae. Almost a quarter of the total work, this crucial first account of Arthur includes Arthur’s magically-contrived conception, his conquest of Rome, and his overthrown and death at the hands of his nephew Mordred. This course also looks at the “battle of books” that followed in the wake of Geoffrey’s work, with some contemporaries arguing that Geoffrey simply made the whole thing up, and others rallying to Geoffrey’s (and Arthur’s) defense.

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

Outline	8-Session Structure
Week 1	Lecture 1: The “Historical” Arthur before Geoffrey
	Discussion 1: HRB, Prologue and Book VI: Britain in Chaos
Week 2	Lecture 2: Merlin the Historian: Prophesy as History and Vice-Versa
	Discussion 2: HRB, Book VIII: Death of a Tyrant; The Birth of a Hero
Week 3	Lecture 3: The Anarchy of Stephen: The Politics of Geoffrey’s Early Readership
	Discussion 3: HRB, Books IV – X: The Rise and Fall of King Arthur
Week 4	Lecture 4: The Battle of the Books: Geoffrey’s Contested History
	Discussion 4: HRB, Books XI – XII: Goodbye Britain, Hello England!

This course tracks Lancelot's development from hero of a medieval romance (part tale of adventure, part comedy of manners) to center of a political and moral tragedy. We look in detail at three texts: Chrétien de Troyes's Lancelot: The Knight of the Cart (c. 1180), Thomas Malory's Le Morte Darthur (1470) and Tennyson's Idylls of the King (1859).

Sir Lancelot, as everyone knows, is Arthur’s best and bravest knight—and also, the lover of Arthur’s wife, Guinevere. Examining this pivotal irony of the Arthurian tradition, this course tracks the development of Lancelot as a both character and a literary concept across three major works:

In Lancelot: The Knight of the Cart, master of French Arthurian romance, Chrétien de Troyes, invents a hero who loves Queen Guinevere beyond all bounds of reason—so much that he will face deadly perils and (worse yet) social humiliation to prove his devotion.

Sir Thomas Malory’s late medieval “Tale of Lancelot and Elayne” (part of his sprawling epic, Le Morte Darthur) introduces a would-be rival for Lancelot’s affections in the form of Elayne, the Fair Maid of Astolat. While retaining a few comic touches from earlier versions, this retelling cannot escape the doomed nature of Lancelot’s affair with the Queen.

Finally, Alfred Lord Tennyson’s poem “Lancelot and Elayne” (part of his Idylls of the King) depicts Lancelot and Guinevere’s betrayal of their king as the moral rot at the foundation of a perfect but unsustainable society—and in so doing, reveals a Victorian sense of worlds away from Chrétien’s light-hearted original.

This module contains a mixture of lecture and discussion, with one lecture for each of the three works, and the rest of the meetings focusing on discussion.

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

Outline	8-Session Structure
Week 1	Lecture 1: Chretien de Troyes and the Creation of Lancelot
	Discussion 1: Lancelot, The Knight of the Cart (first half)
Week 2	Lecture 2: Courtly Romance and Comedy of Manners
	Discussion 2: Lancelot, The Knight of the Cart (second half)
Week 3	Lecture 3: Sir Thomas Malory: Knight Prisoner
	Discussion 3: Le Morte Darthur, “The Tale of Lancelot and Elayne”
Week 4	Lecture 4:Tennyson’s Tragic Arthurian Vision
	Discussion 4: Idylls of the King: “Lancelot and Elayne”

The story of the Holy Grail that was sought by King Arthur’s knights begins with this tale: Chretien de Troyes’s “Perceval, or the Story of the Grail.” This coming-of-age story follows the adventures of Perceval, as he moves from rustic ignorance of his own identity into full-fledged knighthood. As series of mistakes, triumphs, and misadventures leads him almost (but not quite) to the discovery of that most holy of relics. His journey of spiritual understanding, like the quest for the Holy Grail itself, remains incomplete as Chretien’s unfinished romance breaks off in mid-sentence. This course, however, continues Perceval’s story through the numerous continuations of additions by which different authors brought to the tale within a century of its first appearance.

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

Outline	8-Session Structure
Week 1	Lecture 1: Details to be determined.
	Discussion 1: TBD
Week 2	Lecture 2: Details to be determined.
	Discussion 2: TBD
Week 3	Lecture 3: Details to be determined.
	Discussion 3:TBD
Week 4	Lecture 4: Details to be determined.
	Discussion 4: TBD

Can Sir Gawain keep his honor without losing his head? This short classic of Middle English chivalric romance follows Gawain on a quest testing his heroism, social etiquette, sexual virtue, and existential sense of self. This course explores: first, the extraordinary history of the single, unique manuscript which preserves this poem (as it “slept” on a library shelf for 400 years, escaped destruction by fire, and was eventually rediscovered in the 19th century); second, the translations which brought this poem to a twentieth century readership – focusing in particular on J.R.R. Tolkien’s; and finally, the 2021 film by David Lowery.

Love, power, betrayal, death; the occasional dragon and cursed ring. All these are to be found in the legends of the Vǫlsungs and Niflungs, amongst the most popular and abiding legends of the medieval Germanic-speaking and Norse worlds. J.R.R. Tolkien reworked these into two poems in Modern English patterned after the alliterative style of Old Norse poems. In this module, we read Tolkien’s poems and their accompanying commentary to see how Tolkien wrought his own retelling of these ancient tales, and we’ll trace the connections across from the original medieval legends through Tolkien’s retelling to his original works of fantasy set in Middle-earth.

This series will look at what life in the Middle Ages was like. What did people eat? What about entertainment? What about work? What was literature like? People will encounter texts, artifacts, and art to help gain a better understanding of life in the Middle Ages.

Each module in the Life in the Middle Ages series will focus on a different theme:
1. The Lives of Peasants
2. The Lives of Clergy
3. The Lives of Nobility

Often when folks think of the Middle Ages, they think of the Medieval church. The church was no monolith, however. From the local parish priest to the popes, this module looks at the lives of the clergy: married or celibate, spiritual or worldly, anti-clericalism, and more.

It's good to be the king. This module looks at the lives of the people at the top of society. This is not about politics, but about their daily lives, the feasting, the interaction with lower classes, literature for them and about them, things that wealth could bring... What was the life of a noble really like?

We are taught in our culture about the "dark ages," from the so-called "Fall of Rome" to about 1500 or so. This module examines why the "dark ages" aren't dark by looking at the lives of peasants during the thousand year period.

Late medieval English drama brought episodes from The Bible to life in days-long festivals of pomp and pageantry—but what these plays really show us is the day-to-day lives of ordinary men and women of the Middle Ages. With a mixture of lavish spectacle, slapstick comedy, and intimate poignancy, these plays populate the biblical world with familiar figures of the medieval city-life: shrewd workmen and cunning criminals; disgruntled wives and worried husbands; the friends, family, and neighbors of the playwrights and performers.

This course looks at a sampling of plays from the great civic drama cycles of York, Chester, Coventry, and elsewhere, including Noah’s Flood, The Second Shepherd’s Play, Herod’s Slaughter of the Innocents, The Crucifixion, The Harrowing of Hell, and The Last Judgement. The works presented here offer both a grand history of the world from Creation to Doomsday, and locally-rooted, vernacular versions of a text then otherwise available only in Latin. Knowledge of Middle English is not required since this course will use the modern-spelling edition by Prof. A. C. Cawley. Scholarly online Middle English versions, however, will also be made available for students wishing to practice their skills in that area.

This is the landing page for Dr. Isaac Schendel's Middle High German Series which consists of two modules: Middle High German 1: An Epic Introduction and Middle High German 2: An Epic Continuation. For more information check out the module links below.

Also: Please wishlist this page if you are interested in taking Dr. Schendel's Middle High German series when we offer it next.

Middle High German (MHG) is the umbrella term for the German dialects used in the Holy Roman Empire from about 1050 to 1350. Its written form was the language of the court, and most MHG poetry embraces chivalric intellectual interests – adventure, romances, and courtly love! In our epic introduction to the language, we begin with a poem on subject matter that Old English and Old Norse students will immediately recognize: Das Nibelungenlied, the story of Siegfried (Sigurd) the dragon slayer, who we all know from the Völsunga Saga, the Poetic Edda, and (as his father Sigmund) Beowulf.

This module requires absolutely no modern German, but you may find that the course awakens that bit of “school German” you remember from high school. We will read our text – the 14th “Adventure” of The Nibelungenlied – slowly, as a small reading group. The benefit of the Nibelungenlied’s style is that enjambment is rare and each line can be treated as a single sentence.

This module is a continuation of Middle High German 1 with the plan to continue with the 14th âventiure of the Nibelungenlied until we complete it. After that, we will switch to some Arthuriana - Iwein, by Hartmann von Aue, the German “translation” of Chrétien de Troyes’[s] Yvain, the Knight of the Lion. Also, if the students want to read something else, your preceptor is all ears!

This module, a continuation of the Middle High German series, picks up where the previous module left off (ie. Middle High German 2: An Epic Continuation). Although each MHG cohort learns and reads at different speeds, this module will probably continue with the 14th Âventiure of the Nibelungenlied and then switch to Hartmann von Aue’s Iwein, the German adaptation of Chrétien de Troyes’[s] Yvain, the Knight of the Lion.

As always, students are welcome to make suggestions if they would prefer a different text or even a different genre – farces, courtly epics, sermons or even legal texts are just a few examples of what we could read.

During the 12th and 13th centuries, the Provençal tradition of courtly love poetry spread to Germany, where it became the lyrical genre known as Minnesang. It quickly took on a life of its own and developed into a medieval literary scene of the best type—complete with rivalries, drama, and satire! Come join us for a month of reading a selection of poems from this almost inexhaustible literary field.

This class is simultaneously meant as a literary survey and as language practice for Signum’s growing cohort of Middle High German enthusiasts. For every iteration, Dr. Schendel chooses a selection of poetry from the Early, Classical, and Late periods based on student interest. The shorter length of these poems makes them perfect reading material for beginning-, intermediate-, and even advanced-level MHG readers and will allow for an in-depth discussion of the poems.

The reading texts (which vary by iteration) will be supplied from a number of anthologies and editions according to the Fair Use doctrine, but Dr. Schendel will also provide ISBN numbers so students can buy their own copies. After all, who wouldn’t like to impress their houseguests with a hardcover copy of Des Minnesangs Frühling on the coffee table?

Situated on the margins of the medieval world, Iceland was remarkable for developing the largest secular literature in Europe – and Njál’s Saga is the longest, as well as probably the most famous and most artistically acclaimed, of the medieval Sagas of Icelanders. Probably written originally in the later 13th century, Njál’s Saga looks back to feuds of the later Viking Age, in the 10th and 11th centuries and presents much that is characteristic of the Sagas of Icelanders generally: a multitude of clearly drawn and memorable figures (both male and female); clever dialogue, full of dark humor and memorable phrases; great fighters and great fights; bad guys who nevertheless show us some redeeming traits, (however slight); and good guys with their own flaws and shortcomings (often fatal).

Note: We wanted students to be aware that this module may contain violent, graphic, and/or other potentially disturbing material.

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

Outline	8-Session Structure
Week 1	Lecture 1: IIntroduction to “Njál’s Saga” and its medieval Icelandic context; overview of “Hrut’s Saga” (chapters 1-18 of “Njál’s Saga”)
	Discussion 1: Comments on and questions about the medieval Icelandic context of “Njál’s Saga” and the content of Hrut’s Saga” (chapters 1-18 of “Njál’s Saga”)
Week 2	Lecture 2: Overview of “Gunnar’s Saga” (chapters 19-81 of “Njál’s Saga”)
	Discussion 2: Comments on and questions about “Gunnar’s Saga” (chapters 19-81 of “Njál’s Saga”)
Week 3	Lecture 3: Overview of “Njál’s Saga ‘proper’” (chapters 82-132 of “Njál’s Saga”)
	Discussion 3: Comments on and questions about “Njál’s Saga ‘proper’” (chapters 82-132 of “Njál’s Saga”)
Week 4	Lecture 4: Overview of “Flosi’s and Kari’s Saga” (chapters 133-159 of “Njál’s Saga”)
	Discussion 4: Comments on and questions about “Flosi’s and Kari’s Saga” (chapters 133-159 of “Njál’s Saga”)

(Note: This module explores these texts in English, so no experience in Old Norse is necessary.)

Somewhere between the historical and the fantastic are the traditions of heroic legend, telling of extraordinary men and women whose triumphs and tragedies are writ larger than those of everyday life. In medieval Scandinavia, sagas of heroic legend such as The Saga of the Volsungs, The Saga of Ragnar Lothbrok, The Saga of King Hrolf Kraki, and The Saga of Hervor and King Heidrek retold already ancient stories in the new prose styles of the Middle Ages. Bravery and knavery; loyalty and treachery; magic and the mundane, horror and hope; these tales’ themes have enthralled audiences for more than a thousand years and played an outsized role in the birth of modern fantasy literature.

This course introduces the basics of Middle English language and literature, including grammar, syntax, and pronunciation. Designed for students new to reading Middle English texts in their original form, the course focuses mainly on the English of London and the south of England in the thirteenth through fifteenth centuries—the language of Chaucer, Gower, Langland and others.

As a language-learning course as well as a literature course, the first half of each meeting will be devoted to reading Middle English aloud and answering questions about pronunciation and comprehension; the second half will focus on the reading’s content, from basics of plot and conventions of genre to the historical context of each text. Course readings include: a selection of lyric poetry, two short poems by Chaucer, the chivalric romance Sir Orfeo, the Chester play of Noah’s Flood, a chronicle of the reign of King Henry V, Chaucer’s Treatise on the Astrolabe, and selections from the first English autobiography by a woman, The Book of Margery Kemp.

Havelock the Dane is lovely fairy tale type story that sits between heroic epic and developing Romance genres looking into a now distant past, and showing how an unjustly treated child grows to be a great king.

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.

This module, which builds on the skills taught in the previous Middle High German Modules, looks at another representative of the Medieval German so-called Spielmannsdichtung (pseudo-minstrel tales). It tells the story of the Duke Ernest, who after unsuccessfully waging an assassination attempt and civil war against his misled step-father (and Holy Roman Emperor) flees to the Far East as a crusader, encountering mythical creatures and far-off places reminiscent to anyone who has read the Old English Wonders of the East.

We will follow the methods used in other Middle High German modules and look at the Herzog Ernst poem both as literature and as a chance for interested students to continue perfecting their Middle High German reading skills. We will read selections of the text in the original language and translate them into English. Since it’s not entirely feasible to assume that everyone has access to a modern English translation, we will primarily discuss the translated sections, although a summary of the poem in general will be given.

Questions discussed in the module will include questions of genre (as always) and the connection between the frame story and the second narrative, monsters and the bridal-quest, the medieval political philosophy and the HRE (Holy Roman Empire), crusade poetry, and more.

The language of Herzog Ernst is roughly equivalent to the language of the Nibelungenlied, so completion of the Middle High German 1 and 2 modules are strongly encouraged. If you have any questions or need help, please feel free to contact Dr. Schendel.

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.

This module continues the examination of Shakespeare’s late work with two baffling and beautiful plays. The Winter’s Tale begs the question: where does art end and magic begin? Containing the bard’s most famous stage direction—“Exit, pursued by a bear”—this tale of jealousy and forgiveness transforms from domestic tragedy into pastoral comedy, before finally arriving at one of Shakespeare's strangest endings. The Two Noble Kinsmen, Shakespeare’s final work, gives Chaucer’s Middle English "The Knight’s Tale" a Renaissance rewrite. Co-authored with rising star of the Jacobean stage, John Fletcher, this tragicomedy expands the scope of Chaucer’s female characters while hinting at a range of suppressed, taboo romantic desires. Blending the poignant and the absurd, the playwrights worried that their presumptuous "modern" rewrite would raise Chaucer's angry ghost!

Who was the real historical figure behind Santa Claus? In this module, we will read the earliest biographical sources about fourth century bishop, St Nicholas of Myra. Your preceptor will facilitate discussions of Nicholas' historical context and examine the development of his legend. Together, we will examine Byzantine stories of Nicholas' benefaction and miracles, his role as patron saint of seafarers, students and merchants (among others), and how he came to embody the tradition of gift-giving in Christendom. A wonderful end-of-year treat!

"What art thou that counterfeit’st the person of a king?” This is the question asked (in more ways than one) by Shakespeare’s coming-of-age trilogy about England’s most popular medieval monarch—King Henry V. Beginning with his youth in King Henry IV, Part 1, we see the riotous Prince Hal grow from wastrel, drunkard, and companion of highway robbers into the royal figure his war-torn country needs. After relapsing in Part 2, to the great consternation of his dying father King Henry IV, we finally see Hal lead his subjects on the battlefields of France as the mature king in Henry V. Charting his course between the demands of his kingly father, the peculiar philosophy of his friend and mentor, the exuberant Sir John Falstaff, and the dangers posed by a series of political and military rivals, Prince Hal becomes King Henry V by learning what it means to “act” the part of a king in the ways that matter most.

Old Saxon, the continental cousin to Old English, was the language spoken in Northern Germany from the ninth to the twelfth century. It is closely related to and mutually intelligible with Anglo-Saxon, so Old English students will easily be able to read and understand it. The language boasts a number of smaller texts, but the Hêliand, an epic poem of nearly 6,000 lines, remains its most prestigious literary monument. It tells the story of Jesus Christ (the “Hêliand,” meaning “Savior”) reimagined as a Saxon lord with a retinue of twelve thanes, and it is comparable to the Old English Beowulf. In this module, we will read and discuss selections of this poem. Some familiarity with Old English is required.

If you’ve read some of Chaucer’s The Canterbury Tales , you probably encountered the chivalric grandeur of “The Knight’s Tale,” the irrepressible vitality of “The Wife of Bath’s Tale,” or the sinister irony of “The Pardoner’s Tale.” But what of the other pilgrims and their tales? This course looks at some of The Canterbury Tales that are less well-known but equally deserving of study: the beauty of the Squire’s unfinished orientalist fairy tale; the rancorous one-upsmanship of the Friar and Summoner’s exchange of tales on clerical abuses, Satanic bargains, and flatulence; or the pilgrims’ run in with an aspiring alchemist, the Canon, and the satirical tale of alchemy gone wrong offered by his servant, the Yeoman. This course will look at these tales and more in their original Middle English spelling.

Yes, there are indeed women in Beowulf. Vital and potent women in fact. From the valkyrie-esque figures to the weeping peace-weavers, a broad spectrum of women characters exists as both historical representation and imaginative mythology. Grendel's Mother is ferocious and masculine. Hildeburh laments the death of her brother and son before being carried off. Modthryth behaves like a sadistic queen. Wealhtheow is mindful of so much in her husband's hall. Freawaru seems destined for tragedy. And could the dragon be a female too? Maria Headley seems to think so. This module will explore this topic using dual-language editions of texts so we can see the original language alongside translations by J.R.R. Tolkien, Roy Liuzza, and Maria Headley.

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:

• Lecture 1: The Funk of Forty Thousand Years: A Literary History of the Gothic
• Discussion 1: Chilly Echoes in Tolkien's Middle-earth
• Lecture 2: Bottomless Supernatural: Terror, Horror, Abject
• Discussion 2: Conjuring Creepy Creatures
• Lecture 3: The Weird, the Eerie, and the Dark Side of the Mind
• Discussion 3: Defamiliarising Middle-earth
• Lecture 4: Ruined Landscapes
• Discussion 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.

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-session structure as shown below:

Outline	8-Session Structure
Week 1	Lecture 1: The 1760s, the Age of Forgery
	Discussion 1: Which Red Book are we reading?
Week 2	Lecture 2: The Growth of Romantic Nationalism
	Discussion 2: The Book of Lost Tales: a mythology for which England?
Week 3	Lecture 3: Oral Traditions: Immortality and Youth
	Discussion 3: Vocalising Myth and History
Week 4	Lecture 4: Textual Traditions: Mortal Anxiety and Tangible History
	Discussion 4: Writing myth and history

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.

Class Outline:

• 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)

One of the earliest stories of J.R.R. Tolkien’s legendarium committed to writing was the tragic tale of Túrin Turambar. As Tolkien himself acknowledged, in creating Túrin’s tale, he drew on elements of real-world legends, particularly those of Sigurd the Volsung, Oedipus, and the Finnish Kullervo. In this module, we’ll look at the interplay between these legends (in the forms that young Tolkien had likely encountered them) and Tolkien’s own creation of the tale of Túrin. The module’s objective is twofold: a semi-biographical examination of young Tolkien’s early creative processes, and familiarization with the historical sources for these legends that proved so inspirational for him.

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

Outline	8-Session Structure
Week 1	Lecture 1: Introduction to Túrin Turambar and his legendary inspirations (reading: “Turambar and the Foalókë”).
	Discussion 1: Comments on and questions about Túrin Turambar and his legendary inspirations (reading: “Turambar and the Foalókë”).
Week 2	Lecture 2: Oedipus & Túrin (reading: excerpts Sophocles, ed. Jebb, “The Oedipus Tyrannus”).
	Discussion 2: Comments on and questions about Oedipus & Túrin (reading: excerpts Sophocles, ed. Jebb, “The Oedipus Tyrannus”).
Week 3	Lecture 3: Sigurd & Túrin (reading: excerpts from “The Story of Sigurd”, ed. Lang; excerpts from “Völsunga saga”, trans. Eiríkur Magnusson & Morris).
	Discussion 3: Sigurd & Túrin (reading: excerpts from “The Story of Sigurd”, ed. Lang; excerpts from “Völsunga saga”, trans. Eiríkur Magnusson & Morris).
Week 4	Lecture 4: Kullervo & Túrin (reading: excerpts from “Kalevala”, ed. Kirby; excerpts from Tolkien, “The Story of Kullervo”).
	Discussion 4: Kullervo & Túrin (reading: excerpts from “Kalevala”, ed. Kirby; Tolkien, “The Story of Kullervo”).

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.

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

Outline	8-Session Structure
Week 1	Lecture 1: Old Norse religion and magic - definitions, sources and challenges
	Discussion 1: Discussion about lecture 1 and extra material topics
Week 2	Lecture 2: The performers - types of magic and magicians, social status and gender issues
	Discussion 2: Discussion about lecture 2 and extra material topics
Week 3	Lecture 3: The performance - ritual places, toolkit, magic staffs
	Discussion 3: Discussion about lecture 3 and extra material topics
Week 4	Lecture 4: Spells and amulets - actual runic spells and their potential meanings
	Discussion 4: Discussion about lecture 4 and extra material topics

In this module we examine 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.

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.

Nota bene: The module can also be attended without having taken module 1. Although recommended, it is not a prerequisite. You will still have the chance to explore Norse mentalities and catch a glimpse of fascinating beliefs and sources for Iron age and early medieval Scandinavia. Topics included in this module: 1 Norse war deities 2 Supernatural agency in battle 3 Valkyrjur and berserkir 4 The afterlife in Valhöll.

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.

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.

In this module we will examine the origins and development of Zen Buddhism from its roots in Mahayana and Daoist thought through its formative years in China and its spread to Korea and Japan. Among other topics, we should have time to cover the Patriarchs of Zen, the Five Houses of Zen, and major figures within the tradition. We will also gesture towards Zen's impact on East Asian arts and culture more generally.