Left: Yombe. Figure of Mother and Child (Phemba), 19th century CE. Wood, beads, glass mirror, metal, resin, 11 x 5 x 4 1/2 in. (27.9 x 12.7 x 11.4 cm). Brooklyn Museum, Museum Expedition 1922, Robert B. Woodward Memorial Fund. Center: Egyptian. Statuette of Isis nursing Horus, 1070-656 BCE. Bronze. 20.5 x 5.3 x 8 cm (8 1/16 x 2 1/16 x 3 1/8 in.), Egyptian Funerary Arts Gallery, Boston Museum of Fine Arts. Right: English (possibly). Virgin and Child (Virgo lactans), 1275-1300 CE. Ivory. Height: 11.3 cm, Width: 5.3 cm at base. From the Webb Collection, Victoria and Albert Museum.
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ANCIENT MYTH
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I taught this introductory-level course in Fall 2015 and Spring 2016 as a Postdoctoral Fellow in the Department of Classics at Florida State University. It fulfilled a 'W' - writing - requirement and so features 3000+ words of writing. The following syllabus is the revised version between the 2015 and 2016 iterations of the course. I found that students responded much better - and provided much more substantive, thoughtful answers - to creative and reflective assignments rather than highly analytical short-answer questions (e.g., on exams).
UPDATE, MAY 2016: Throughout this course, I learned that with 100+ students, almost-weekly short (500-word) writing assignments are, even with a wonderful, dedicated and uncomplaining TA, overwhelming to give substantive feedback on both the content and style of their writing (especially as the students were less-than-diligent about following up on those comments and incorporating them into their subsequent writing assignments. If I teach this class again, I'll reinstitute the 'Create Your Own Myth' assignment as a two-part, beginning and end-of-the-semester assignment, with a creative myth written at the beginning of the semester reflected upon at length at the end of the semester. I'll modify the Portfolio assignments described below as In-Class assignments in which students will watch/read modern myths (or modern retellings of ancient myths) and respond to them according to the Portfolio prompts below; and lengthen the Comparative Essay into a longer, two-part assignment, incorporating a proposal, submitted draft, peer review, and revised final draft.
UPDATE, MAY 2016: Throughout this course, I learned that with 100+ students, almost-weekly short (500-word) writing assignments are, even with a wonderful, dedicated and uncomplaining TA, overwhelming to give substantive feedback on both the content and style of their writing (especially as the students were less-than-diligent about following up on those comments and incorporating them into their subsequent writing assignments. If I teach this class again, I'll reinstitute the 'Create Your Own Myth' assignment as a two-part, beginning and end-of-the-semester assignment, with a creative myth written at the beginning of the semester reflected upon at length at the end of the semester. I'll modify the Portfolio assignments described below as In-Class assignments in which students will watch/read modern myths (or modern retellings of ancient myths) and respond to them according to the Portfolio prompts below; and lengthen the Comparative Essay into a longer, two-part assignment, incorporating a proposal, submitted draft, peer review, and revised final draft.
COURSE DESCRIPTION
This course provides students with an introduction to the mythological traditions from a diverse group of ancient cultures, including those of Greece and Rome, the Near East, Northern Europe, India, China, Africa, and the Americas. We will read extensively in translation from works of world literature on mythological subjects, in order to answer larger questions about how various cultures create the stories they live by. We will focus especially on narrative threads that appear in differing cultures, as a main goal is to explore the ways in which a wide variety of societies share variants upon a basic theme. This does not, however, mean that cultures will be assimilated into one; in some cases, it will be cultural, geographical, or other kinds of differences in societies that affect the divergence from a narrative pattern.
COURSE OBJECTIVES
Upon completion of this course, successful students will have:
The above objectives are designed to fulfill the general university goals of:
LIBERAL STUDIES FOR THE 21ST CENTURY
The Liberal Studies for the 21st Century Program at Florida State University builds an educational foundation that will enable FSU graduates to thrive both intellectually and materially and to support themselves, their families, and their communities through a broad and critical engagement with the world in which they live and work. Liberal Studies thus offers a transformative experience. This course has been approved as meeting the Liberal Studies requirements for the “distribution area” of Cultural Practice and Humanities. This course has also been approved as meeting the requirements of Scholarship in Practice. By the end of this course, students will demonstrate the ability to meet the following objectives of the Liberal Studies program
CULTURAL PRACTICE AND HUMANITIES
SCHOLARSHIP IN PRACTICE
This course also addresses a requirement that is a legacy from the former Liberal Studies curriculum.
WRITTEN COMMUNICATION (W requirement, formerly called the “Gordon Rule”)
By the end of this course students will demonstrate: College-level writing competency as required by the State of Florida. The student must earn a C (2.0) or higher in the course, and earn at least a C average on the required writing assignments. If the student does not earn a “C” average or better on the required writing assignments, the student will not earn an overall grade of “C” or better in the course, no matter how well the student performs in the remaining portion of the course.
- identified key texts and themes in world mythology;
- compared and critically evaluated a variety of myths of western and non-western cultures;
- analyzed and synthesized their relationship to one another, focusing particularly on places where basically similar stories diverge;
- explored the methods used by scholars of myth to classify and comprehend stories from different places
The above objectives are designed to fulfill the general university goals of:
LIBERAL STUDIES FOR THE 21ST CENTURY
The Liberal Studies for the 21st Century Program at Florida State University builds an educational foundation that will enable FSU graduates to thrive both intellectually and materially and to support themselves, their families, and their communities through a broad and critical engagement with the world in which they live and work. Liberal Studies thus offers a transformative experience. This course has been approved as meeting the Liberal Studies requirements for the “distribution area” of Cultural Practice and Humanities. This course has also been approved as meeting the requirements of Scholarship in Practice. By the end of this course, students will demonstrate the ability to meet the following objectives of the Liberal Studies program
CULTURAL PRACTICE AND HUMANITIES
- compare and interpret a variety of intellectual and/or artistic works within their cultural milieux
- compare, interpret and create or model cultural artifacts that function as widely varied reflections of human perspectives and/or practices.
SCHOLARSHIP IN PRACTICE
- select, critically evaluate, and apply relevant areas of scholarship to produce an original analysis, project, creative work, performance or other scholarly work that reflects a body of knowledge relevant to the course.
- articulate the process of producing a work, from initial plan, to critique, revision and completion.
- critique existing applications of scholarship in order to learn from past success and failures
This course also addresses a requirement that is a legacy from the former Liberal Studies curriculum.
WRITTEN COMMUNICATION (W requirement, formerly called the “Gordon Rule”)
By the end of this course students will demonstrate: College-level writing competency as required by the State of Florida. The student must earn a C (2.0) or higher in the course, and earn at least a C average on the required writing assignments. If the student does not earn a “C” average or better on the required writing assignments, the student will not earn an overall grade of “C” or better in the course, no matter how well the student performs in the remaining portion of the course.
TEXTBOOKS AND READINGS
- Gods, Heroes, and Monsters: A Sourcebook of Greek, Roman and Near Eastern Myths in Translation, ed. Carolina López-Ruiz (Oxford 2013) [=Gods, Heroes, and Monsters]
- The World of Myth: An Anthology (2nd ed.), ed. David Leeming (Oxford 2013) [=World of Myth]
- Gilgamesh: A New English Version, Stephen Mitchell, trans. (Atria 2006) [=Gilgamesh].
- Beowulf, Seamus Heaney, trans. (Norton 2001) [= Beowulf].
- Prose Edda, Jesse L. Byock, trans. (Penguin Classics 2006) [=Prose Edda]
- The Saga of the Volsungs, Jesse L. Byock, trans. (Penguin Classics 2000) [=Volsungsaga]
- Popol Vuh: The Sacred Book of the Maya, Allen J. Christensen, trans. (University of Oklahoma 2007) [=Popol Vuh]
- Additional readings will be made available as .pdf files.
EVALUATION AND GRADING
Students will take three non-cumulative exams and will be responsible for creating a portfolio over the course of the semester. Additionally, class participation will figure in as a small percentage of the total grade. The breakdown of the final grade is as follows:
- Participation 10%
- Portfolio 40%
- Exams 50%
PARTICIPATION
Please come to class on time and ready to actively contribute to discussion by sharing your thoughts, comments, and/or questions in response to the readings. I will assess participation through daily ICAs (in-class assignments), very short graded assignments that are used to check attendance, to stimulate class discussion, and to evaluate students’ understanding of the course material. There are no make-ups for missed ICAs, but it is only necessary to complete 22 ICAs (out of a total of 25 possible) in order to receive a 100% participation grade. On each ICA, a student can receive a grade of 2 (if all questions are answered correctly), 1 (if there is one factual error in a student’s response), or 0 (if there is more than one factual error in a student’s response or if a student does not take an ICA).
Please demonstrate your respect for your classmates, and for me, by silencing your cell phone (and any other devices) before class begins. Remember that texting, chatting, and surfing the internet, Facebook, etc., during class not only compromises your capacity to successfully contribute to class and receive a full participation grade, it can also be extremely distracting to your classmates.
Please demonstrate your respect for your classmates, and for me, by silencing your cell phone (and any other devices) before class begins. Remember that texting, chatting, and surfing the internet, Facebook, etc., during class not only compromises your capacity to successfully contribute to class and receive a full participation grade, it can also be extremely distracting to your classmates.
EXAMS
The breakdown of the three exams is as follows:
Exams 1 & 2 (75 minutes; 15% each)
Key terms, characters and definitions (multiple choice) 60% (60 x 1pts)
Map (location + 1-2 sentence identification) 40% (20 x 2pts)
Exam 3 (1 hour 50 minutes; 20%)
Key terms, characters and definitions (multiple choice) 50% (100 x ½ pt)
Short Answers (1-2 paragraphs) 20% (4 x 5 pts)
Map (location + 1-2 sentence identification) 30% (15 x 2pt)
Exams 1 & 2 (75 minutes; 15% each)
Key terms, characters and definitions (multiple choice) 60% (60 x 1pts)
Map (location + 1-2 sentence identification) 40% (20 x 2pts)
Exam 3 (1 hour 50 minutes; 20%)
Key terms, characters and definitions (multiple choice) 50% (100 x ½ pt)
Short Answers (1-2 paragraphs) 20% (4 x 5 pts)
Map (location + 1-2 sentence identification) 30% (15 x 2pt)
PORTFOLIO
The portfolio is comprised of a number of short assignments, some of them essay-based responses to specific questions posed in class or online and completed either as homework, or as in-class comparative exercises. There is no attendance requirement per se, but students will not be able to complete their portfolios without being in class most of the time. Individual assignments will be assigned a specific point range. There will be a possible 100 portfolio points, and basic point scores follow grading rubric percentages below. The individual assignments are as follows:
Create Your Own Mythology (65 points)
Before we start reading the primary sources in depth, we will set a benchmark for your own development in the study of comparative myth by creating your own personal myth and building upon it over the course of the semester. These assignments are, in a sense, very open ended, and will not be evaluated in the sense that of ‘right’ or ‘wrong’, but in the quality of the writing (see the attached grading rubric) and in the clarity of your presentation and understanding of the mythology. We will return to this exercise throughout the term, culminating at the very end of the term in the ‘Myth Reflection’ exercise.
These are short, critical writing exercises in which you will focus on certain major themes; the specific elements that I expect you to address in each topic will be distributed in class one (1) week before they are due:
Before we start reading the primary sources in depth, we will set a benchmark for your own development in the study of comparative myth by creating your own personal myth and building upon it over the course of the semester. These assignments are, in a sense, very open ended, and will not be evaluated in the sense that of ‘right’ or ‘wrong’, but in the quality of the writing (see the attached grading rubric) and in the clarity of your presentation and understanding of the mythology. We will return to this exercise throughout the term, culminating at the very end of the term in the ‘Myth Reflection’ exercise.
These are short, critical writing exercises in which you will focus on certain major themes; the specific elements that I expect you to address in each topic will be distributed in class one (1) week before they are due:
- Part I: Setting the Stage. Describe the world in which your mythology is set. Where is it? What is it? In this part of the assignment, you will describe the nature of the divine system and other questions of power, the god’s or gods’ characteristics, and the shape of the cosmos.
- Part II: Creation. Write an account of creation to fit in with the mythology that you created in Part I (250+ words). Then, in 250-500 words, describe how your mythology explains how the world came to be. Address at minimum the following questions: Who were the major players? What inspired creation? How was it manifested, and what events/actions were the most influential? How does it take on the burden of explaining the shape of the Cosmos and the way the world works?
- Part III: Apocalypse. Write an account of the ‘end of days’ to fit in with the mythology you created in Parts I & II (250+ words). Then, in 250-500 words, describe how your mythology explains the end of the world. Address at minimum the following questions: Who are the major players? What events brought (will bring) on the end of the world? How does the actual apocalypse occur? What happens afterwards? How does it take on the burden of explaining the shape of the Cosmos and the way the world works/look today?
- Part IV: Tricksters. Write an account of a trickster character that fits in with the mythology you created in Parts I-III (+250 words). Then, in 250-500 words, describe how the role of the trickster functions within your mythology. Address at minimum the following questions: How does your trickster come into existence in the first place? What prompts him to trick/deceive, and why does he choose the intended target? What are the results of his trickery? What lesson is meant to be taught through this story?
- Part V: Heroes. Write an account of a hero’s feat or journey that fits in with the mythology you created in Parts I-IV (+250 words). Then, in 250-500 words, describe how the hero functions within your mythology. Address at minimum the following questions: How does your hero come into existence in the first place? What are the characteristics that help him/her to accomplish his heroic feats? What prompts him or her to undertake the feats or labors that he or she does? How do the labors reflect more widely on the world in which your mythology is set?
- Part VI: Underworld and Afterlife. Write a katabasis story that fits in with the mythology you created in Parts I-IV (>250 words). Then, in 250-500 words, describe how your mythology (further) explains the shape of the cosmos. Address at minimum the following questions: Who are the major players? What events inspired the katabasis? What does he/she/they encounter in the Underworld? What happens afterwards? How does the mythology take on the burden of explaining the shape of the Cosmos (or divisions within it) and the way the world works or look today?
- Part VII: Myth Reflection. Reflect on the original formulation of your personal myth. After 13 weeks of reading myths from around the world, what can you identify as the major influences on your myth? How would you change your myth now? What new elements would you incorporate, and why? How did going through the semester-long process of creating your own myth help you better understand or think through ancient mythologies?
Comparative Essay (35 points)
Compare an ancient myth to a modern one. This exercise can take the form of a modern retelling of an ancient myth, or a brand-new ‘myth’ of the modern world in text or film. We will break into small groups on Monday, April 11, so that you can discuss ideas for comparisons with your peers. The submitted proposal must include:
In addition, I’d like you to specifically and explicitly address what a comparison of the myths illuminates about the myth’s role in antiquity and in the modern world, and how it has changed over time. How has world mythology impacted modern pop culture?
The careful and well-considered essay should be 750-1000 words.
I recommend that you make use of FSU’s Reading/Writing Center facilities, especially when crafting your final draft. If you would like to propose a different format for this project instead of an essay – for example, a comic book or re-enactment – please include this in your proposal, and we will discuss how to make sure that it is the effort equivalent of the essay assignment. This will most likely take the form of a brief (500-750) reflection essay on your project and presentation to the class during the last week of class.
Compare an ancient myth to a modern one. This exercise can take the form of a modern retelling of an ancient myth, or a brand-new ‘myth’ of the modern world in text or film. We will break into small groups on Monday, April 11, so that you can discuss ideas for comparisons with your peers. The submitted proposal must include:
- the myths you plan to compare and their examined format (fiction, film, play, opera, etc)
- cultural and historical context (who, what, where?) of each
- what, specifically, you plan to compare between the myths.
In addition, I’d like you to specifically and explicitly address what a comparison of the myths illuminates about the myth’s role in antiquity and in the modern world, and how it has changed over time. How has world mythology impacted modern pop culture?
The careful and well-considered essay should be 750-1000 words.
I recommend that you make use of FSU’s Reading/Writing Center facilities, especially when crafting your final draft. If you would like to propose a different format for this project instead of an essay – for example, a comic book or re-enactment – please include this in your proposal, and we will discuss how to make sure that it is the effort equivalent of the essay assignment. This will most likely take the form of a brief (500-750) reflection essay on your project and presentation to the class during the last week of class.
LATE POLICY
There are no make-ups for ICAs. Other assignments will be accepted for three days (72 hours) following the due date and time of the submission; each 24 hours will result in a 5% deduction from the final grade (up to 24 hours = 5%, up to 48 hours = 10%, up to 72 hours = 15%). Assignments more than 72 hours late will not be accepted.
If you cannot bother to be in class to submit an assignment, collect the exercise prompts when they are distributed, or hear the reminder that an upcoming assignment is due, this falls into the category of “Not My Problem.” Of course, if you have a note from a doctor, sports team, etc., we can work out another means of submitting and evaluating the assignment.
Initiative is always rewarded: if you know you are going to miss class, please come talk to me about how you can make up the assignment.
If you cannot bother to be in class to submit an assignment, collect the exercise prompts when they are distributed, or hear the reminder that an upcoming assignment is due, this falls into the category of “Not My Problem.” Of course, if you have a note from a doctor, sports team, etc., we can work out another means of submitting and evaluating the assignment.
Initiative is always rewarded: if you know you are going to miss class, please come talk to me about how you can make up the assignment.
SYLLABUS CHANGE POLICY
Except for changes that substantially affect implementation of the evaluation (grading) statement, this syllabus is a guide for the course and is subject to change with advance notice. Any changes to the schedule of readings, assignments and class meetings will be announced and updated on the Blackboard site for CLT3378-0005 (section 5). Students are responsible for checking their email for announcements and the Blackboard site regularly for announcements of changes to the readings and meetings.
SCHEDULE OF READINGS AND ASSIGNMENTS
WEEK 1: INTRODUCTION TO THE COURSE
Wednesday 1/6: Introduction to the course
WEEK 2: DEFINITIONS AND THEORIES OF MYTHOLOGY; CREATION STORIES
Monday 1/11: Definitions and theories of mythology
Aphrodite and Eros
Sources: Apuleius, Cupid & Psyche; Ovid, Metamorphoses
Readings: Gods, Heroes and Monsters 5.20 (pp. 414-424)
World of Myths pp. 262-265
Wednesday 1/13: Creation, Greece and Rome
Sources: Hesiod, Theogony and Works and Days; Ovid, Metamorphoses
Readings: Gods, Heroes and Monsters 1.5 (pp. 31-48); 1.10 (pp. 58-61); 2.5 (pp. 97-99); 2.6 (pp. 99-102)
**Create Your Own Myth: Part I assignment due on Turnitin 5pm**
Aphrodite and Eros
Sources: Apuleius, Cupid & Psyche; Ovid, Metamorphoses
Readings: Gods, Heroes and Monsters 5.20 (pp. 414-424)
World of Myths pp. 262-265
Wednesday 1/13: Creation, Greece and Rome
Sources: Hesiod, Theogony and Works and Days; Ovid, Metamorphoses
Readings: Gods, Heroes and Monsters 1.5 (pp. 31-48); 1.10 (pp. 58-61); 2.5 (pp. 97-99); 2.6 (pp. 99-102)
**Create Your Own Myth: Part I assignment due on Turnitin 5pm**
WEEK 3: CREATION STORIES, CONTINUED
Monday 1/18: No class (Martin Luther King, Jr. Day)
Wednesday 1/20: Creation, Babylonian
Sources: Enuma Elish (Epic of Creation)
Readings: Gods, Heroes and Monsters 1.1 (pp. 6-21); World of Myths pp. 18-20; Blackboard, “Monomyth”
Wednesday 1/20: Creation, Babylonian
Sources: Enuma Elish (Epic of Creation)
Readings: Gods, Heroes and Monsters 1.1 (pp. 6-21); World of Myths pp. 18-20; Blackboard, “Monomyth”
WEEK 4: CREATION STORIES, CONTINUED
Monday 1/25: Creation, India
Sources: Rig Veda
Readings: Blackboard, “Rig Veda”; World of Myths pp. 24-25
Wednesday 1/27: Creation, Norse
Sources: Snorri Sturluson, Prose Edda
Readings: Blackboard, “Norse Creation”; World of Myths pp. 31-33
Sources: Rig Veda
Readings: Blackboard, “Rig Veda”; World of Myths pp. 24-25
Wednesday 1/27: Creation, Norse
Sources: Snorri Sturluson, Prose Edda
Readings: Blackboard, “Norse Creation”; World of Myths pp. 31-33
WEEK 5: CREATION STORIES, CONTINUED
Monday 2/1: Creation, Maya
Sources: Popol Vuh
Readings: Blackboard, "Popol Vuh - Creation"; World of Myths pp. 65-66
Wednesday 2/3: Creation, North America
Sources: The Maidu “Creation”; Onondagan, “Star Woman and Earth Divers”; Tlingit Myths
Readings: Blackboard, “Coyote”; “Raven”; World of Myths 160-162; World of Myths 33-34
Sources: Popol Vuh
Readings: Blackboard, "Popol Vuh - Creation"; World of Myths pp. 65-66
Wednesday 2/3: Creation, North America
Sources: The Maidu “Creation”; Onondagan, “Star Woman and Earth Divers”; Tlingit Myths
Readings: Blackboard, “Coyote”; “Raven”; World of Myths 160-162; World of Myths 33-34
WEEK 6: CREATION STORIES, CONTINUED
Monday 2/8: Creation, Egypt
Sources: Memphite Theology; Coffin Texts Spell 80
Readings: Gods, Heroes and Monsters 1.3.a-b (pp. 22-28)
Wednesday 2/10: Creation, Africa
Sources: Yoruba, The Creation
Readings: Blackboard, “Obatala”
**Create Your Own Myth Part II: due by 5pm via Turnitin**
Sources: Memphite Theology; Coffin Texts Spell 80
Readings: Gods, Heroes and Monsters 1.3.a-b (pp. 22-28)
Wednesday 2/10: Creation, Africa
Sources: Yoruba, The Creation
Readings: Blackboard, “Obatala”
**Create Your Own Myth Part II: due by 5pm via Turnitin**
WEEK 7: FLOOD STORIES
Monday 2/15: Flood Stories
Sources: Atrahasis; Genesis; Epic of Gilgamesh
Readings: Gods, Heroes and Monsters 2.1.a-b (pp. 68-84); World of Myth pp. 48-54
Wednesday 2/17: Exam #1 (covering weeks 1-6)
Sources: Atrahasis; Genesis; Epic of Gilgamesh
Readings: Gods, Heroes and Monsters 2.1.a-b (pp. 68-84); World of Myth pp. 48-54
Wednesday 2/17: Exam #1 (covering weeks 1-6)
WEEK 8: DESTRUCTION AND FOUNDATION MYTHS
Monday 2/22: Tower of Babel
Sources: Genesis
Readings: Gods, Heroes and Monsters 4.4 (pp. 300-301)
Wednesday 2/24: Seven Hills: Rome, Constantinople…Tallahassee?
Sources: Livy, History of Rome; Plutarch, Life of Romulus
Readings: Gods, Heroes and Monsters 4.13.a-b (pp. 335-342)
Sources: Genesis
Readings: Gods, Heroes and Monsters 4.4 (pp. 300-301)
Wednesday 2/24: Seven Hills: Rome, Constantinople…Tallahassee?
Sources: Livy, History of Rome; Plutarch, Life of Romulus
Readings: Gods, Heroes and Monsters 4.13.a-b (pp. 335-342)
WEEK 9: MOTHER GODDESSES
Monday 2/29: Inanna and Ishtar
Sources: From the Great Above to the Great Below; The Descent of Ishtar to the Underworld
Readings: Gods, Heroes and Monsters 6.2 (pp. 438-442); World of Myths pp. 137-139
Wednesday 3/2: Demeter
Sources: Homeric Hymns: Hymn to Demeter
Readings: Gods, Heroes and Monsters 6.8 (pp. 478-489)
**Create Your Own Myth Part III: due by 5pm via Turnitin**
Sources: From the Great Above to the Great Below; The Descent of Ishtar to the Underworld
Readings: Gods, Heroes and Monsters 6.2 (pp. 438-442); World of Myths pp. 137-139
Wednesday 3/2: Demeter
Sources: Homeric Hymns: Hymn to Demeter
Readings: Gods, Heroes and Monsters 6.8 (pp. 478-489)
**Create Your Own Myth Part III: due by 5pm via Turnitin**
WEEK 10: TRICKSTERS AND TROUBLE-MAKERS
Monday 3/14: Prometheus and Pandora
Sources: Hesiod, Theogony
Readings: Gods, Heroes and Monsters 2.5 (pp. 94-97)
Wednesday 3/16: Hermes: the archetypal trickster
Sources: Homeric Hymn to Hermes
Readings: Blackboard, "Hermes"; "Hermaphroditus"
Sources: Hesiod, Theogony
Readings: Gods, Heroes and Monsters 2.5 (pp. 94-97)
Wednesday 3/16: Hermes: the archetypal trickster
Sources: Homeric Hymn to Hermes
Readings: Blackboard, "Hermes"; "Hermaphroditus"
WEEK 11: TRICKSTERS AND TROUBLE-MAKERS, CONTINUED
Monday 3/21: Eshu
Readings: Blackboard, “Eshu”
Wednesday 3/23: Loki
Sources: Prose Edda
Readings: World of Myths pp. 158-160; Blackboard, "Loki"
**Create Your Own Myth Part IV: due by 5pm via Turnitin**
Readings: Blackboard, “Eshu”
Wednesday 3/23: Loki
Sources: Prose Edda
Readings: World of Myths pp. 158-160; Blackboard, "Loki"
**Create Your Own Myth Part IV: due by 5pm via Turnitin**
WEEK 12: HEROES
Monday 3/28: Gilgamesh
Sources: Epic of Gilgamesh
Readings: Mitchell, Gilgamesh; Optional: Blackboard, “Hero With a Thousand Faces”
Wednesday 3/30: Exam #2 (covering weeks 7-11)
Sources: Epic of Gilgamesh
Readings: Mitchell, Gilgamesh; Optional: Blackboard, “Hero With a Thousand Faces”
Wednesday 3/30: Exam #2 (covering weeks 7-11)
WEEK 13: HEROES, CONTINUED
Monday 4/4: Buluqiya and Herakles
Sources: Apollodorus, Bibliotheke (The Library)
Readings: Gods, Heroes and Monsters 3.11.b (pp. 259-274)
Wednesday 4/6: Beowulf
Sources: Beowulf
Readings: Heaney, Beowulf
**Create Your Own Myth Part V: due by 5pm via Turnitin**
Sources: Apollodorus, Bibliotheke (The Library)
Readings: Gods, Heroes and Monsters 3.11.b (pp. 259-274)
Wednesday 4/6: Beowulf
Sources: Beowulf
Readings: Heaney, Beowulf
**Create Your Own Myth Part V: due by 5pm via Turnitin**
WEEK 14: UNDERWORLD AND AFTERLIFE
Monday 4/11: Underworld and Afterworld, Scandinavia
Sources: Prose Edda
Readings: Blackboard, "Ragnarok"; World of Myths pp. 81-82
Wednesday 4/13: Underworld and Afterlife, Egypt
Sources: Hymn to Osiris; Book of the Dead; Plutarch, de Iside et Osiride
Readings: Gods, Heroes and Monsters 6.3-6.5 (pp. 442-451)
**750-1000 word essay due via Turnitin on Blackboard by 5pm**
Sources: Prose Edda
Readings: Blackboard, "Ragnarok"; World of Myths pp. 81-82
Wednesday 4/13: Underworld and Afterlife, Egypt
Sources: Hymn to Osiris; Book of the Dead; Plutarch, de Iside et Osiride
Readings: Gods, Heroes and Monsters 6.3-6.5 (pp. 442-451)
**750-1000 word essay due via Turnitin on Blackboard by 5pm**
WEEK 15: UNDERWORLD AND AFTERLIFE, CONTINUED
Monday 4/18: Underworld and Afterlife, Greeks and Romans
Sources: Homer, Odyssey; Plato, The Republic; Virgil, Georgics; Virgil, Aeneid
Readings: Gods, Heroes and Monsters 6.7 (pp. 458-478); 6.12 (pp. 496-498); 6.13 (pp. 498-523); 7.5 (pp. 562-567)
Wednesday 4/20: Underworld, Mesoamerica
Sources: Popol Vuh
Readings: Blackboard, "Twins go to the Underworld"
**Create Your Own Myth Part VI: due by 5pm via Turnitin**
Sources: Homer, Odyssey; Plato, The Republic; Virgil, Georgics; Virgil, Aeneid
Readings: Gods, Heroes and Monsters 6.7 (pp. 458-478); 6.12 (pp. 496-498); 6.13 (pp. 498-523); 7.5 (pp. 562-567)
Wednesday 4/20: Underworld, Mesoamerica
Sources: Popol Vuh
Readings: Blackboard, "Twins go to the Underworld"
**Create Your Own Myth Part VI: due by 5pm via Turnitin**
