The Value(s) of Viking Myth

Viking mythology is jarring, weird, dark, and awe-inspiring.  In putting together the syllabus for this class, I was reminded of how lively some of these Scandinavian stories are, texts that make it clear that the oft-cited assessment of 8th Century English Aethelweard chronicler was way off base.  Aethelweard famously concluded that the Vikings were “a most vile people”, a claim that seems questionable at best.  Yes, life could be hard for those inhabiting Northern Europe in the Middle Ages, and yes, there was often violence at hand – but the same was true for virtually all peoples of this era, from all global regions and cultures.  In fact, the Vikings were remarkable craftsmen and intelligent mariners, and they have left us one of the most rich and rewarding literary legacies of the “ancient” world.  Thus, I want you to somehow “enter” that world for this Blog post.  My own favorite Viking myth is probably the story of ‘Sigurd, the Volsung’, a tale so riveting that it inspired one of the most well-known literary series of all time:  J.R.R. Tolkien’s ‘Lord of the Rings’ trilogy.  Tolkien recognized the power of Viking myth, and I’m hoping you can do the same in this response.  This time around, I want to leave the subject of your response fairly open.  So, pick a particular element from one of our selections, and discuss it.  Explain how your chosen theme, character, or idea fits within the long trajectory of mythological storytelling, and also how it moves these stories forward and offers us something new and provocative.  You may even share with us what you find moving or fascinating in these stories, and why.  Even “vile people”, it seems, can tell vigorous stories that can stand the test of time – and I’ll be curious to hear your own “stories” in response.

The Power of Enlightenment

In his famous essay “What is Enlightenment?” Immanuel Kant explains this concept by saying directly that “Enlightenment is man’s release from his self-incurred tutelage” (or, perhaps, “immaturity”).  He continues by decrying “man’s inability to make use of his understanding without direction from another. Self-incurred is this tutelage when its cause lies not in lack of reason but in lack of resolution and courage to use it without direction from another. Sapere aude! “Have courage to use your own reason!”- that is the motto of enlightenment.”  Our last two classes have addressed a series of thinkers whose ideas were, indeed, “enlightened” and whose arguments challenged and changed the world forever.  In this Blog post, therefore, I want to have you bring to light a particular “enlightened” premise that really intrigued you of late, whether from Luther, Copernicus, Galileo, Rousseau, Locke, Adam Smith, or Kant himself.  This time around, I’m particularly intrigued by what, exactly, you see as a truly “enlightened” idea.  So, outlining your chosen concept, what made it so revolutionary in its own day and age?  And why does this premise still have profound intellectual currency in our own era?  Finally, for this response, I’m really curious about your personal thoughts and opinions on the matter – why, exactly, are you so struck by this particular example of/from Enlightenment thought?  Why does it speak to you through the void of hundreds of years of time?

‘Leviathan’ and the (English) Prince

According to Mark Jendrysik, “The political theorists of seventeenth-century England saw struggles over political and religious organization as the central cause of revolutionary upheaval. Division on questions of political structures and religious belief resulted in civil strife and oppression. . . . John Milton saw a critical cleavage between those who freed themselves from the worship of kings and those who were still enthralled by the royal image. Oliver Cromwell believed faction, brought about by the desire of some men to rule over other men and force their beliefs into a specific pattern, caused the civil war. For Robert Filmer false beliefs about a specious and rebellious “liberty” destroyed natural order. For Thomas Hobbes the critical division in English politics was based in misunderstandings about the nature of sovereign power. Divided sovereignty, or the false belief that there was more than one source of religious and political authority in the world, became for Hobbes the central, overriding cause of disorder. The civil war represented the failure of English sovereigns to maintain necessary control over all aspects of political and religious life. The source of divided sovereignty lay in confusion about the source, nature and goals of political and religious power in the state.” As a result of his cold-hearted application of logical thought to the harsh realities of the English Civil War, Thomas Hobbes emerged as perhaps the quintessential political philosopher in the English-speaking world during the period commonly known as the Restoration era. One way of thinking about Hobbes is to see him as taking up the intellectual mantle of thought begun just over a century earlier by Niccolo Machiavelli (in ‘The Prince’). Like his Italian predecessor (though to a lesser degree), Hobbes has been seen as a kind of cynical commentator on politics and rule. Yet Hobbes DOES offer a different vision of political reality than Machiavelli for a different age, and in this response I’m interested in you bringing the ideas of these two intellectual behemoths into conversation. Specifically, I want you to do two things here: 1) Try and compare/contrast the political thought of Hobbes and Machiavelli. In what way are their approaches, theories, and conclusions similar, but also, in what crucial ways to they diverge? 2) Much like we did earlier with Machiavelli, I want you to pick out a particular quotation from Hobbes’ ‘Leviathan’, and discuss it – trying to address its significance and logic for its own time period and then, in turn, discussing how and why you think it logically applies (or not) to our own day and age.

Words on ‘Beowulf’ from Seamus Heaney

For your Blog post on the fantastic Old English epic ‘Beowulf’, I want you to respond to the words of its most famous translator: the Nobel-Prize winning Irish poet Seamus Heaney. You may pick and choose his words as you will, and I would like for you to use/apply them to particular elements in the text in order to provide some fresh insights into the meaning and significance of this work – a poem that is simultaneously similar to other mythical works we have seen while being very, very different. In Heaney’s words, readers of the poem “are bound to feel a certain “shock of the new.” This is because the poem possesses a mythic potency. Like Shield Sheafson, it arrives from somewhere beyond the known bourne of our experience, and having fulfilled its purpose (again, like Shield), it passes once more into the beyond. . . . The “Finnsburg Episode” envelops us in a society that is at once honour-bound and blood-stained, presided over by the laws of the blood-feud, where the kin of a person slain are bound to exact a price for the death, either by slaying the killer or by receiving satisfaction in the form of ‘wergild’ (the “man-price”), a legally fixed compensation. The claustrophobic and doom-laden atmosphere of this interlude gives the reader an intense intimation of what ‘wyrd,’ or fate, meant not only to the characters in the Finn story but to those participating in the main action of ‘Beowulf’ itself. All conceive of themselves as hooped within the great wheel of necessity, in thrall to a code of loyalty and bravery bound to seek glory in the eye of the warrior world. . . . It has often been observed that all the scriptural references in ‘Beowulf’ are to the Old Testament. The poet is more in sympathy with the tragic, waiting, unredeemed phase of things than with any transcendental promise.”

 

Machiavellian Meanings

Few writers are so significant that they leave a literal mark on the language, to the degree that their name becomes synonymous with a particular idea or phenomenon. Nicolo Machiavelli, however, was just such a man, and his book The Prince has been central to the study of political thought since its initial publication in 1532. In the English-speaking world, the author is probably best known or recognized through the adjective based on his name: “Machiavellian”, which Webster’s Dictionary defines as “of or relating to Machiavelli” or, more to the point, “suggesting the principles of conduct laid down by Machiavelli; specifically:  marked by cunning, duplicity, or bad faith.” In other words, Machiavelli’s very name has come to designate an individual whose political behavior is manipulative, deceitful, deceptive, and/or dishonest. To a certain degree, this notion perfectly embodies Machiavelli’s political advice, yet in some ways this premise misses the point or, at the very least, fails to recognize the moral, literary, and political subtleties of Machiavelli’s Prince. For this response, I want you to navigate some of the subtleties brought to the page by Machiavelli, and to do so I want you to do three things. First, identify a particularly contentious idea from The Prince, a piece of advice that would seem, for lack of a better word, quintessentially “Machiavellian.” Quote it for the Blog and then I’d like you to critique that notion in several specific ways. On one hand, I’d like you to try to examine his logic, to try and understand WHY he offers the controversial piece of advice that he does. To help support and explain this statement, you should try to place his comment(s) within the historical context of his day and age (something that he himself does repeatedly in his book). On the other hand, I’d like to see how Machiavelli’s idea might be applicable to our own political moment. Is his particular suggestion for political behavior a wise one, a good way for a ruler to (justly) navigate the challenging political waters of the twenty-first century? Or would his premise be problematic in some way, shape, or form if taken up by a modern-day politician? The Prince is a very challenging and fascinating book of political advice, and it will be interesting to see what you are all able to do by way of examining that advice both as it relates to his own day and age, and also as an applicable premise for our current political realm.

On Mythological Tricksters, Warriors, and Lovers

For our final Blog post for Unit One, I want you to run with one of three broad options, which are inspired by the content of our latest readings.  Specifically, you may consider and respond to the following:

1)  The very first line of Virgil’s Aeneid gets right down to the heart of the matter.  In my translation, the famous line reads, simply, “This is a tale of arms and of a man.”  In other words, the story of Aeneas is a story about a man at war, a warrior-hero who will fight bravely and who will be, in essence, defined by his valor and prowess on the battlefield.  Hence, I’m interested in seeing what you can do here to address the war-making that is so common in mythological stories.  Using the Aeneid as a test case, offer some thoughts about the meaning and significance of war in the world of myth (and, please, give us some specific examples or quote some passages to help support your case!).

2)  The Roman poet Ovid was widely known as the quintessential love-poet, and indeed one of his masterpieces was appropriately titled the Ars Amatoria (‘The Arts of Love’).  Accordingly, I would like you to use the excerpts you read from Ovid as a way into the question of the “arts of love” (to borrow his title) within a mythological context.  If you go with this prompt, then, I’d like you to provide some commentary on the meaning and significance of love and sex in mythical narrative – in what ways is Ovid’s verse typical of the handling of these topics, and in what ways is his writing utterly unique within the context of mythical storytelling?

3)  For the third and final option, I am curious to hear your thoughts about the mythical Trickster-figure.  The Trickster is a commonly-found character who takes great pleasure in breaking rules and playing tricks on both humans and gods.  Tricksters are often shape-shifters who flaunt the rules of society, but they also frequently play an important role in the creation of the world or the establishment of important human traditions.  They are, in other words, complex figures that raise many questions about the role of the hero and the morality of a specific mythical society.  Your response should pick out one of the Tricksters read for class and use him to discuss the general importance and impact of this common character type.

Orphan Train Response

In the Prologue to ‘Orphan Train’, by Christina Baker Kline, the narrator’s very first words state that:  “I believe in ghosts, They’re the ones who haunt us, the ones who have left us behind. . . . Sometimes these spirits have been more real to me than people, more real than God.”  This passage might be spun in interesting ways and made to tie into both of the classes I am teaching this semester.  For my ‘Myth, Tragedy, and Politics’ class, the words of Vivian (the first-person narrator of the above lines) throughout the novel offer some potent ideas about personal history, memory, writing, the “legends” of the past, and the myth-making we all do to order and understand our lives.  For my ‘Power and Society’ class the harrowing story of the orphan Vivian (who endured her ride on the orphan train in 1929 and the harsh events that followed) and her modern-day counterpart Molly (who has a hard time navigating and tolerating the challenges of the U.S. Social Services) speaks to interesting issues of power, such as the authority of the state, the politics of parenting, the dire state of many orphanages and foster-parent arrangements, and the role of schools in adolescent lives.  Bearing in mind such issues, this Blog post is going to be a little different than what we have done so far this semester.  In this case, I want you to carefully respond to the common reading for Stockton freshman (that being ‘Orphan Train’).  Your response may do one of two things:  1)  Offer some commentary in the wake of the author’s lecture at the Freshman Convocation (on Thursday the 25th ).  Tell us, what did Christina Baker Kline say that really touched a nerve with you?  What did you find interesting about her lecture, and what was invigorating about the entire Freshman Convocation event?  Why?  I’ll be curious to hear your thoughts about this talk!  2)  If you aren’t able to attend the lecture or would rather discuss the book, then I’d like you to do just that.  So, choose a particular moment in the book that brings rise to a particular issue, and tell us how/why it ties in with the topics and themes of your Freshman Seminar.  You might quote from the book itself, and then discuss what the book seems to suggest in your chosen moment about the issue (relative to power, on the one hand, or myths/legends/heroes on the other) – what is Baker Kline saying and doing in your selected moment, and why?  Also, what thoughts do YOU have about the subject – how do YOU respond to the issue based on your own knowledge or experience?

War & Peace in the ‘Odyssey’

The importance and influence of Homer’s works to Greek culture and history simply cannot be overstated.  He has been labeled the “teacher of Greece” and he was widely lauded in his own day, as he continues to be in our day and age.  Homer’s ‘Odyssey’ is a monument of world literature, and it is a vitally important example of Greek mythological writing.  It is also fascinating as a kind of political document, a manifesto about war and peace, imperialism, violence, hatred, and so on. Although the Trojan War was an imaginary  conflict, its depiction by Homer (in both the ‘Odyssey’ and ‘Iliad’) is vivid and harrowing, and this may be because, depending on when Homer was really writing, the horrors of war might have been all-too-real in a land where civil strife and conflict amongst city-states were common.  With this possibility in mind, I want you to think about the ‘Odyssey’ not strictly as a mythological text but as a kind of political document, a creative act that negotiates the day’s crises of power and authority.  Hence, I would like for you to explore something related to war and peace as depicted by Homer and articulated through his many character dialogues and speeches.  Specifically, I want you to address a particular war-oriented theme – such as violence, hatred, justice, mercy, authority, violence, surrender, and negotiation – and examine that theme as presented in a particular passage from the ‘Odyssey.’  Pick a quotation or two from the text and then discuss it in terms of its political content.  In your discussion you should identify the central issue of your chosen lines, and detail the challenges and logic of characters concerning the subject; then, you must offer some thoughts on what YOU think about the topic within the context of the story (if not the culture of Greece more generally).  To borrow from one translation of the opening lines of the text:  “Tell me, O Muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy.”  Tell ME, fair students, about the trials and tribulations of this hero, and tell US what you think the text has to say about war and peace in the context of Greek myth (and/or Greek society).  I shall be curious to see where the “muse” takes you in this response!

The Politics of Peace in the ‘History of the Peloponnesian War’

Thucydides is often labeled as the “father” of Greek historical writing due to his rigorous method of evidence collection and measured approach to the “facts”. He was also a noted (if disgraced) military general whose ‘History of the Peloponnesian War’ is commonly taught in military studies and/or political science courses.  Given his personal experiences during the Peloponnesian War, there is no doubt that Thucydides knew well the realities of battle, and that may help to explain the remarkable vividness of his writing.  Especially striking are the extensive dialogues and speeches found throughout his ‘History’, wherein the writer takes much creative license in reconstructing what was said (or, rather, should/might have been declared) in particular moments of battle or legal negotiation.  We have read two of the most famous of these reconstructions for class, namely the ‘Mytilenian Debate’ (found in Book Three, chapters 36-49) and the so-called ‘Melian Dialogue’ (found in Book Five, chapters 84-114).  In these well-known set-pieces, Thucydides provides a fascinating exploration of key issues and concerns related to war and peace, such as justice, mercy, authority, violence, hate, negotiation, and surrender (etc.).  In your response, I would like you to negotiate one specific aspect (or theme) of the debate, and do so by quoting and discussing particular statements made by speakers in these sections.  More to the point, pick a quotation or two from either the ‘Mytilenian Debate’ OR the ‘Melian Dialogue’ and then enter into dialogue with the speakers and their ideas.  You might particularly address the following:  What is the central issue of your chosen lines, and what is the logic of the speaker(s) and their argument?  In turn, what do YOU think about the situation and their rationale, and why?

Epic vs. Myth, Gilgamesh vs. Hesiod

As discussed in class, the Epic of Gilgamesh is widely recognized as being, perhaps, the earliest masterpiece of world literature.  Writing hundreds if not thousands of years later, Hesiod is widely credited with helping to establish the immensely influential tradition of Greek mythical writing with his Theogony.  One of these is an anonymous text carved onto clay tablets using cuneiform script, the other is often seen as amongst the earliest examples of alphabetic literary writing.  One of these was mostly hidden from view for over a millennium and is from the ancient, mysterious, and often undervalued society of Mesopotamia, the other comes from the later, well-documented, and widely praised culture of Greece.  Yet despite tremendous differences of time, place, subject matter, and textual form, there are some remarkable similarities between the Epic of Gilgamesh and Theogony, not to mention some telling differences.  Thus, I’m interested in seeing what might happen if we bring these ostensibly distant and divergent works together in very precise ways.  In particular, what might get revealed about the differences between early “myth” and “epic” by comparing, for example, the trials and tribulations faced by Gilgamesh with Hesiod’s tales of his favorite god Zeus?  To see what might come out of a focused exploration of these two monumentally important work, please pick two characters (one from each text) and compare/contrast them.  What does this interaction suggest about the characters themselves, and more importantly, about key elements of each masterpiece (if not their respective societies)?  What does your comparison reveal about the two works, and the two different types of work in question??

Principles of Power in the Ancient World

In the opening passages of the Bhagavad-Gita, the “hero” (if you will) Arjuna is overcome by grief on the battlefield.  Not wanting to kill his kin, he puts down his weapons and, dejected, refuses to fight.  But Krishna, his counselor, famously urges him on by saying such things as “your business is with action alone,” that “there is nothing better for a Kshatriya than a righteous battle,” and arguing that if “Killed, you will obtain heaven; victorious, you will enjoy the earth. Therefore arise, O sun of Kunti, resolved to engage in battle!”  Krishna’s advice to Arjuna has been the subject of considerable controversy over the years and is, to say the very least, provocative and complex.  In addition to the Bhagavad-Gita our class has recently considered the challenging ideas of Aristotle’s Politics and Plato’s Republic, all of which are masterpieces of world literature and crucially important remnants of ancient political theory and belief.  For the second Blog post of the term, then, I want you to precisely and directly engage with the politics of one of these major works.  Specifically, I’d like you to select a single passage from one of these works, a passage that you deem provocative, interesting, or somehow problematic.  Then, you should examine the passage itself and try to place it within the broader context of your chosen work and its historical/political/intellectual context.  Finally, you might offer your own two cents’ worth on the passage:  what do you think about the topic and viewpoint at hand, and why?

Applying the Ideas of Aristotle and Joseph Campbell

This week, we are working to lay more intellectual foundations for our studies by considering the classical theories of Aristotle (on the subject of tragedy) and the recent scholarship of Joseph Campbell (on the “monomyth” and the mythical hero).  And at last, we have gotten to our first mythical narratives of the class, myths of creation and flood/apocalypse stories from the ancient past, as depicted in various cultures.  Thus, to fully understand the theories in question and the first stories on the syllabus, I want see how you can tie them together in a very specific way.  You have two options for this exploration.  In the first case, you may apply certain ideas from Aristotle’s theories of tragedy to a specific myth (assigned for Wednesday) of your choosing.  I was primarily thinking that it would be interesting to see how the plot of your chosen tale fits certain “tragic” modes (such as leading toward a “catharsis”), or how the characters fit Aristotle’s ideals — especially of the “tragic hero.”  Alternately, you can work with and through key ideas from Campbell’s influential output.  If, for example, you would like to explore the notion of a “monomyth,” you might compare/contrast the similarities between several of the creation tales; on the other hand, it might be interesting to think about how a given story depicts the stages of the hero’s journey according to Campbell’s terms (i.e. separation, initiation, return).   It’s all about applied critical thinking here, and it will be intriguing to see what kinds of intellectual connections you can make and the interpretive suggestions you might draw out by utilizing the ideas of Aristotle or Campbell.

Preliminary Ponderings About (Foucauldian) Power Structures

The very first assigned readings for ‘Power and Society’ are taken from the vast output of philosopher, cultural historian, and literary critic Michel Foucault.  Why Foucault?  The answer is a fairly simple one:  more than any post-modern thinker, it is arguably the work of Foucault that has most profoundly influenced scholarly discussions of the meaning, machinations, and implications of power over the last 30 years.  Foucault addressed power in a number of texts and a number of different ways, offering thoughts of the following kind:  he claimed that “in itself the exercise of power is not violence,” and emphasized that “power is exercised only over free subjects, and only insofar as they are free.”  More importantly for our initial purposes in this class, Foucault noted (in “The Subject and Power”) that “something called Power, with or without a capital letter.  . .  does not exist.  Power only exists when it is put into action.”  In his own unique way, Foucault is acknowledging the ambiguities and difficulties in even basically explaining and comprehending the mysterious forces of power in society.  And it is partially with this kind of idea in mind that I would like students in this class to contribute to the first Blog posting of the term, in which you may feel free to utilize and play with the ideas of Foucault or simply provide us with your own unique perspectives.  This time around, I want you to answer as best you see fit ONE of the following three questions, all of which variously engage with complexities of power as it presses upon us daily:  Can (or should) power be distributed equally, or is it somehow necessary (or inevitable) that certain parties will have more power than others?  How do individuals (or groups) gain power, and what are some of the most common ways they use that power?  Finally, how might certain varieties/structures of power distort individuals’ consciousness of their societal place, their subjective situation in the face of authority?

Initial Thoughts About Myths, Legends, and (Tragic) Heroes

It has been said that “all cultures. . . are founded on myths” while “it has always been the prime function of mythology. . . to supply the symbols that carry the human spirit forward.” These are the sage words of Joseph Campbell, the renowned scholar of myth and legend. As Campbell knew well, myth permeates our very lives – even if we are not always explicitly aware of the presence and influence of mythical stories, characters, and ideals. With that reality in mind, for the first Blog writing of the semester, I would like to consider the meaning and significance of several concepts with ample modern-day currency and usage. Specifically, I want to explore the following concepts that will be crucial to our work this semester: myth, legend, tragedy, and hero. What IS a myth, and how are mythical elements present in your life in the twenty-first century? Similarly, what makes a legend, and where have you found “legendary” stories to have meaning and influence in your experience? OR, what defines a “tragic” figure, and how is “tragedy” understood today?  Lastly, just what IS a hero? Like the first three concepts, the term “hero” frequently gets used and over-used in our modern-day popular media, but it is questionable as to whether its usage is always valid or helpful. In your response, you should answer one (or, at most, two) of the above questions, working to define, discuss, and illustrate concepts that are inherently ambiguous but also highly important to us all because, as Campbell noted many years ago, the characters and ideas of mythical tales are absolutely foundational to our society, central to our very ways of life.

Welcome to the Art(s) of Ideology!

Welcome to the Art(s) of Ideology, a professor run, student driven community at Stockton College.  Here, we will discuss legends and literature, power and politics, and explore the past and present implications of significant texts and challenging ideologies.  The conversation begins now — please join us!