Humanities Curriculum

As Dean of Curriculum, I offer you the following course of study: "The Literature and Language of Xena: Warrior Princess."

Literature, as defined in Webster's dictionary, is "the aggregate of all writings of a people, period, topic, etc." Language is "the spoken or written means by which man (sic.) expresses himself(sic.) and communicates with others."

Therefore, if Literature is the heart of expression; then Language is the soul. It is in this context that we ask you to explore the writings of Xena: Warrior Princess and its impact on our culture, our time, and on you, the viewer.

There have been many debates about the show which beg the question: "Why did this happen?" or "Where are we going in this scenario?" I would like to take this one step further, and ask you to compare and contrast the scripts vis a vis the writers, not limited to, but including Steven L. Sears, R. J. Stewart, Chris Manheim, Hilary J. Bader, Paul Robert Coyle, Adam Armus and Nora Kay Foster.

Apart from the fact that these talented men and women have given us some extraordinary episodes, success is measured on how the viewer reacts -- positively or negatively -- which forms the basis for discussion and/or heated debate. Given the fact that Seasons 3 and 4 have spawned these types of reactions, it seems appropriate that we discuss the issues as it relates to their perception of the characters they have created.

In an interview I had with Mr. Sears, I asked him what he loved most about writing for the show. He responded: "All writers love the fact that the characters 'exist' in our minds. You'll often hear writers speak of 'hearing the voices' in their heads. So, in a sense, I'm in the heads of Xena and Gabrielle." He went on to say: "I enjoy the freedom to write stories like "Orphan of War" without having a Network saying, 'You can't possibly make Xena a mother who left her child! Or, might leave him again!!' I had a story to tell, and I told it."

When I asked him about Season 3, he said: "There has been much talk about a 'rift' between the characters. Some people think it was never to be, and still others think that we will see it in an upcoming episode. Those of you who have siblings, think about the worst crisis you ever had with them and tell me whether it happened all in one hour or if it was built as a result of years? The real answer to the 'rift' question is that you're seeing it now. In fact, you've been seeing it ever since Xena and Gabrielle first sat at a campfire together. Friendship is an expression of the surface; love is an expression of the soul. One is not always compatible with the other."

Literature and language are the heart and soul of who we are; where we have been; where we want to go. Words can persuade or dissuade; anger or elate; confuse or convince; lead you to or lead you away; empower or destroy. Xena: Warrior Princess is a phenomenon because it does all these things -- through language.

- Doctor Brette, Dean of Curriculum (On Sabbatical)

Science Curriculum

After Doctor Brette's eloquent exposition above, you may be wondering what the hell science has to do with this. After all, television is not reality. This is true, but one of the great things about Xena: Warrior Princess was that it got people interested in topics that perhaps they would never have learned about before, or to write webpages and join mailing lists to set the record straight in their field. For all the controversy 'The Way' managed to cause, it inspired many people to actually learn something concrete about Hinduism, one of the world's major faiths. And it is that sort of inspiration that this science curriculum uses as its starting point.

The main focus of the Centre's science curriculum (don't email me about how I spell centre... I'm Canadian, so live with it) is archaeological, particularly Classical and Near Eastern archeaology. In effect, this area is made of two subareas: technique development and data analysis, and actual digging and interpretation of digs. X:WP has done amazing things for the pursuit of information about the past. Let me expand on those a bit.

Technique development and data analysis are the foundation of everything we do in archaeology. There must be ways used to find out where to dig (aerial photographs, geophysical survey, for example), to delineate the area of the dig, map it properly so you can find it again (yes, sites really have been lost because somebody couldn't record the location accurately), and relate that to the data already available. A more everyday example of a similar idea is the humble telephone book. It brings huge amounts of information together, making it possible for a person to figure out a place to order a pizza with the correct size and toppings that isn't too far away, isn't too expensive, and hopefully delivers. Imagine how much work this would be if that person had just moved into the area, hadn't had the chance to get recommendations by word of mouth, and had neither telephone book nor internet. Data analysis includes both basic map and geophysical data analysis and the learning and use of ancient languages. It's always better to be equipped with the ability to make your own translations, or understand where word ambiguities allow the translator to express bias... or when bias has been expressed by ignoring the truth. Biblical scholars can make their living on this alone.

Of course, it's the digging that most of us have seen and heard the most about. The challenges are fascinating let alone daunting. How do you deal with an excavation in an English bog, or in the desert of Yemen? Or southern Alberta, where the sound of the crickets at night and the grasshoppers during the day can drive a newcomer to distraction? What most of us don't realize about excavation until or if we take a method and theory course is that how and what you excavate is itself an interpretive exercise, and this before you've officially collected any material remains!

So here at the Centre articles, comments, and discussions on any of these things is highly encouraged, particularly with a slant to building a more complete picture of the past that includes women and children.

- Professor Alexiares Thearktos

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