Historiansplaining: A historian tells you why everything you know is wrong

Who was William Shakespeare? He is far more elusive, and his life more obscure, than his fans and biographers will admit. We consider the massive, bloated mythology that has built up around the great Bard over the centuries, and then examine the remarkably scant surviving documentary records from the writer's own lifetime, which tend to paint a both bizarre and unflattering picture. The first of three installments examining the reality of Shakespeare. Please support this podcast in order to keep the lectures coming and make them regular and dependable! -- www.patreon.com/user?u=5530632 Suggested further reading: S. Schoenbaum, "William Shakespeare: A Compact Documentary Life"; James Shapiro, "Contested Will: Who Wrote Shakespeare?"; Diana Price, "Shakespeare's Unorthodox Biography."

Struggles between chief executives and legislatures are dominating the news on both sides of the Atlantic, as Americans debate impeachment and the UK is engulfed by a Brexistential crisis. Most of the terms and precedents for these struggles go back to the 1600s and King Charles I's efforts to govern without the support of Parliament, which led to political backlash, civil war, and social upheaval from the halls of Westminster to the smallest peasant farmsteads. Please support this podcast in order to keep the lectures coming and make them regular and dependable! -- www.patreon.com/user?u=5530632 Suggested further reading: Hill, "The Elizabethan Puritan Movement"; Tyacke, "The Anti-Calvinists"; Walzer, "The Revolution of the Saints"; Mendle, ed., "The Putney Debates"

After one year, my lecture on the only authentic pre-Columbian European artifact ever found in the United States becomes public. Please support this podcast on Patreon to hear the patron-only lectures when they are posted -- including object #5 -- a set of glass beads left behnid by the Hernando de Soto expedition -- https://www.patreon.com/posts/22678911 --Created in Norway, 1069-1080 AD, during reign of King Olaf Kyrre --Made of silver alloy --Found at Goddard Site, Naskeag Point, Maine, dated 1100s-1200s AD The only authentic Norse artifact ever found in the United States, this small silver coin dated to the 11th century may be an elaborate hoax, or a crucial clue to trade and contact between Europe and America in the centuries between the fall of Vinland and the arrival of Columbus.

We consider the vast sweep of Central Asian history, from the first nomads to tame the horse and gain mastery of the steppes, to the splendrous cities of the first Silk Road, to the rise of Ghenghis Khan. Few Westerners learn the dizzyingly complex and tumultuous history of Central Asia, even though it forms the linchpin connecting all the major civilizations of the Old World, from Europe to Persia to China. Finally, we consider the unsettling paradox of the Mongol empire, which fostered a vibrant cosmopolitanism at the same time that it brutally repressed subject peoples. Please support this podcast, in order to hear all patron-only lectures, including, "The History of Central Asia -- pt. 2", on the rise of the Ottoman Turks and the Russian empire, the Soviet era, and the struggles over mineral resources, nuclear sites, and global trade in the post-Soviet age -- https://www.patreon.com/posts/29126231 Suggested further reading: Peter Golden, "Central Asia in World History"; Gavin Hambly, "Central Asia"; Rene Grousset, "The Empire of the Steppes"

Freemasonry: What is it? Where does it come from? What is one taught as a Freemason? What do they do in their closed-door rituals -- and why? Freemasonry in the 1700s is my own field of research, and as a thank-you for reaching 50 patrons, I give a deep illumination of this unusual Society's roots in the gatherings of stonemasons in the late Middle Ages, its mythical connections to Solomon's Temple and the Crusades, and its elaborate system of symbols and initiatory rituals, which cast the Masons as a quasi-priestly caste with a shamanic connection to the world of the dead. Please support this podcast and hear the next lecture! -- www.patreon.com/user?u=5530632 Suggested Further Reading: David Stevenson, "Origins of Freemasonry: Scotland's Century"; Margaret Jacob, "Living the Enlightenment"; Jessica Harland-Jacobs, "Builders of Empire"; Ric Berman, "The Foundations of Modern Freemasonry"; Steven Bullock, "Revolutionary Brotherhood"; Jasper Ridley, "The Freemasons"

After one year for patrons only, the fourth Myth of the Month becomes free for the public: Do societies become more "secular" as they become modern? Do science, technology, or democracy weaken religious belief? We consider theories of secularization ranging from Max Weber's story of "disenchantment" to Charles Taylor's "A Secular Age." Current survey data show a dramatic rise in the number of "nones" -- those who do not adhere to any particular religious group, even though most of them still pray, read scriptures, or express belief in God. Please support this podcast in order to hear all patron-only lectures -- including Myth of the Month #5 -- Capitalism! -- https://www.patreon.com/posts/20915273 Suggested Further Reading: Charles Taylor, "A Secular Age"; Max Weber, "Science as a Vocation"; Pew Research Center, "In America, Does More Education Equal Less Religion?" Image of abandoned church courtesy of Emma (https://www.flickr.com/people/27505473@N02) via Flickr.

-Found in Monroe County, Illinois -Made of bauxite or "flint clay" -Dated to early 12th cent. AD One year after being shared with patrons only, this second installment of History of the United States in 100 Objects becomes public. We consider the statuette of a woman tearing into the back of a serpent (known to archaeologists as the Birger Figurine), which was found broken in pieces and buried in a pit outside of a small village site in Illinois. The figurine, despite its small size and condition, is the most exquisite piece of art surviving from the Mississippian civilization, a massive and powerful urban society that dominated the interior of North America for more than three hundred years before falling into decline and obscurity. The statuette most likely represents a goddess of death and rebirth that presided over the Mississippians' prosperous golden age. Suggested further reading: Timothy Pauketat, "Ancient Cahokia and the Mississippians"; Reilly and Garber, "Ancient Objects and Sacred Realms"; Guy Prentice, "An Analysis of the Symbolism Expressed by the Birger Figurine." Please sign on as a patron in order to hear the 1st installment in the series on the History of the United State in 100 Objects – on the “Panther Effigy Pipe” – https://www.patreon.com/posts/18504136 ; and the 3rd installment in the series – on the “Scarlet Macaw Feather Sash” – https://www.patreon.com/posts/19617998

We put the disastrous fire at Notre Dame de Paris into historical perspective -- by considering the history of Gothic cathedrals, their cosmic religious meanings, and their remarkably powerful and mysterious construction. How did medieval builders create these massive, complex structures without steel, steam power, electricity, or even written plans? We also follow the tumultuous experiences of Notre Dame itself, the social and symbolic center of Paris--from religious riots and Revolutionary iconoclasm to malign neglect and controversial restorations. Finally, we consider the resilience of Gothic buildings through fire, lightning, earthquake, war, and revolution, and ask what other important monuments or community buildings we should support in our own communities. Please support this podcast, so that you can hear all of my patron-only materials, including a new special discussion of Game of Thrones and the magic of monarchy: www.patreon.com/user?u=5530632 Intro music: Domenico Scarlatti, "Fandango," played by Genoveva Galvez; used by permission of Ensayo Records. Image: Cathedral of Our Lady of the Assumption, Port-au-Prince, Haiti, immediately after the 2010 earthquake. Suggested further reading: John Fitchen, "The Construction of Gothic Cathedrals"; Otto von Simson, "The Gothic Cathedral"; Knoop and Jones, "The Mediaeval Mason"

--In time for Passover, this lecture on the myth of the Exodus from Egypt, which I recorded solely for patrons one year ago, becomes public for all.-- We examine the origins and the political and theological meanings of the myth of the Israelites' exodus from Egypt. We consider the possible real historical events that might underly the exodus story, including the argument put forward in Richard Elliot Friedman's new book, The Exodus. Finally, we trace some of the many ways that peoples around the world, from the early Christians to Rastafaris, have adopted the exodus myth and cast themselves as the new Israelites. Please sign on as a patron in order to hear the next installment in this series – “Myth of the Month 3: The Exodus” – https://www.patreon.com/posts/18937861

Universities are unique -- a quintessential product of the High Middle Ages that has miraculously survived and even flourished in the modern world. In the first part of the history of universities, we examine the origins of the first universities in the power struggles of Popes and emperors; the ways that medieval students learned, lived, and annoyed their elders; and the ways that universities adapted to and withstood serious challenges from Renaissance humanism and the republic of letters. Next will be the rise of universities in America, the modern research university, and the current crisis of academia. Please support Historiansplaining, in the spirit of knowledge and inquiry, and to get patron-only lectures such as part 2 of this history of universities: https://www.patreon.com/posts/25222358 Suggested further reading: Walter Ruegg, ed., “A History of the University in Europe,” 4 vols.; William Clark, “Academic Charisma and the Origins of the Research University”; Olaf Pedersen, "The FIrst Universities." Image: "Master and Scholars," illustration from "L'Image du Monde," copybook by Gautier de Metz, 1464, in collection of British Library. Intro music: Domenico Scarlatti, Sonata in D minor, played on harpsichord by Wanda Landowska.