Trinity College Dublin

In the Canterbury Tales, Chaucer famously makes his Wife of Bath protest at the unfair ways women are represented by men. In this course students look at how women were actively involved in literary production in the medieval period, whether as patrons and audiences whose stated or perceived needs shaped particular compositions, or as themselves the authors of texts. The course begins with the female-voiced poems in the 10th-century Exeter Book and extend through the 15th century, covering texts in Latin, French, and English. 

This course examines how, and to what end, violence is practiced. The courses addresses some of the biggest and oldest questions in the study of comparative politics: why are some societies prone to civil conflict, while others are not? When do political actors resort to violence over a peaceful solution to conflict? Why are some societies prone to political violence, while others are not? Why do individuals participate in collective violence? How, if at all, do the perpetrators of political violence justify their actions? And how, and under what conditions, does violence end?

What is myth? How do myths deal with fundamental human concerns about who we are and the world we live in? What is the relationship between myth and religion? Why did the Greeks and Romans worship many gods, believe in oracles, or perform animal sacrifice? This course is an introduction to the major myths and religions of the classical world using the full range of primary source material: literary, artistic and archaeological. The course CLU11200 is only available to full-year visiting students. 

Because ULYSSES rewards careful attention to detail, the main focus of this class is a slow, patient, and close reading of Joyce's novel. The course begins with A PORTRAIT OF THE ARTIST AS A YOUNG MAN before moving into ULYSSES. The course ends with a few classes that present an introduction to FINNEGAN'S WAKE. The general theme of the class is the evolution of Joyce's artistic sensibility contrasted with Joyce's representation of that evolution. The course also approaches the texts from a variety of perspectives: Joyce as an “Irish writer”; Joyce as an “English writer”; Joyce as a “European writer”; the poetics of style and form; the politics of style and form; humor as style; modes of ideology (race, religion, gender, and nation); framing a literary tradition; and the production and reception of Modernism. The course also discusses the composition of ULYSSES as is indicated on the NLI ULYSSES drafts.

This course explores Irish Theater since 1964. Some of the texts studied include Brian Friel's PHILADELPHIA HERE I COME, Enda Walsh's THE WALWORTH FARCE, FREEFALL by Michael West, and David Ireland's CYPRUS AVENUE. A new play is studied at each week's lecture.

The Hundred Years War was in reality a series of wars, on both land and sea, arising primarily from the political and dynastic conflicts of the kings of England and France. It was fought mainly in France but also engulfed Brittany, Scotland, the Iberian kingdoms, the Netherlands, and other countries. The first part of the wars is retailed in considerable detail by the contemporary chronicler, Jean Froissart, whose powerful portrait of warfare and political rivalry is set against a backdrop of chivalric endeavor and glory. The module takes its lead from Froissart’s vivid chronicles. Tutorials are focused exclusively on various aspects of his chronicles and students are expected to write an essay on Froissart’s work. Lectures concentrate on key themes associated with Froissart’s world, such as kingship, chivalry and warfare, diplomacy, and popular revolt.