Podcasts about alcaeus

Mais um episódio só com bandas portuguesas. Falamos das músicas e registos dos Cult of Alcaeus, Chapel of Samhain "Black Onyx Cave" e Web "Burden of Destiny" (Firecum Records). Episódio com o apoio da Hellsmith: https://hellsmith.eu/ Disponível nas plataformas de podcasts. Patreon - https://www.patreon.com/laughbanging iTunes - http://itunes.apple.com/podcast/laughbanging/id1082156917 Spotify - https://open.spotify.com/show/1acJRKPw6ppb02ur51bOVk Facebook - https://facebook.com/laughbanging #laughbangingpodcast #podcast #portugal #heavymetal #hellsmithmetalmerch #deathmetal #thrashmetal

χαίρετε πάντες! Here is the second episode of season 2, discussing πρὸς Μελάνιππον, another poem by Alcaeus. Please find the text here: https://ryanfb.github.io/loebolus-data/L142.pdf (poem 122, p.396). Enjoy the episode! Josep & Leandros Support the podcast and get access to episodes in advance: https://www.patreon.com/Hellenizdein?fan_landing=true&view_as=public Follow us ον Twitter: https://twitter.com/ancientgreekpod Join our Facebook group: https://www.facebook.com/groups/604916774052809 Follow us on instagram: https://www.instagram.com/hellenizdein/ Write to us personally at: theancientgreekpodcast@gmail.com

χαίρετε πάντες! We are back after the summer holidays with the first episode of season 2, discussing one of Alcaeus' drinking songs (skolion)... ironically, an anti-drinking song! The text can be read here (Skolion 156, p.414): https://ryanfb.github.io/loebolus-data/L142.pdf Enjoy the episode! Josep & Leandros Support the podcast and get access to episodes in advance: https://www.patreon.com/Hellenizdein?fan_landing=true&view_as=public We now have a new Twitter account. Follow us here: https://twitter.com/ancientgreekpod Join our Facebook group: https://www.facebook.com/groups/604916774052809 Follow us on instagram: https://www.instagram.com/hellenizdein/ The podcast also now has an e-mail address, so you can practice your Greek by writing to us personally at: theancientgreekpodcast@gmail.com

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Archilochus, (flourished c. 650 BCE, Paros [Cyclades, Greece]), was a poet and soldier, the earliest Greek writer of iambic, elegiac, and personal lyric poetry whose works have survived to any considerable extent. The surviving fragments of his work show him to have been a metrical innovator of the highest ability.Archilochus's father was Telesicles, a wealthy Parian who founded a colony on the island of Thasos. Archilochus lived on both Paros and Thasos. Fragments of his poetry mention the solar eclipse of April 6, 648 BCE, and the wealth of the Lydian king Gyges (c. 680–645 BCE). The details of Archilochus's life, in the ancient biographical tradition, are derived for the most part from his poems—an unreliable source because the events he described may have been fictitious or may have involved imaginary personae or ritual situations.Modern discoveries, however, have supported the picture given in the poetry. Two inscriptions dedicated to Archilochus were discovered in a sacred area on Paros; they are named, after the men who dedicated them, the Mnesiepes inscription (3rd century BCE) and the Sosthenes inscription (1st century BCE). Archilochus's self-presentation was taken seriously as early as the late 5th century BCE by the Athenian politician and intellectual Critias, who denounced him for presenting himself as the impoverished, quarrelsome, foul-mouthed, lascivious son of a slave woman. Some scholars feel that the Archilochus portrayed in his poems is too scurrilous to be real.Archilochus probably served as a soldier. According to ancient tradition, he fought against Thracians on the mainland near Thasos and died when the Thasians were fighting against soldiers from the island of Naxos. In one famous poem, Archilochus tells, without embarrassment or regret, of throwing his shield away in battle. (“I saved my life. What do I care about my shield? The hell with it! I'll buy another just as good.”) The motif of the abandoned shield appears again in the lyric poems of Alcaeus and Anacreon, in a parody by Aristophanes (Peace), and in a learned variation by the Latin poet Horace (Carmina).Although the truth is difficult to discern with certainty from the poems and other evidence, Archilochus may have been disreputable. He was particularly famous in antiquity for his sharp satire and ferocious invective. It was said that a man named Lycambes betrothed his daughter Neobule to the poet and then later withdrew the plan. In a papyrus fragment published in 1974 (the “Cologne Epode”)—the longest surviving piece of Archilochus's poetry—a man, who is apparently the poet himself, tells in alternately explicit and hinting language how he seduced the sister of Neobule after having crudely rejected Neobule herself. According to the ancient accounts, Lycambes and his daughters committed suicide, shamed by the poet's fierce mocking.Archilochus was the first known Greek poet to employ the elegiac couplet and various iambic and trochaic metres, ranging from dimeter to tetrameter, as well as epodes, lyric metres, and asinarteta (a mixture of different metres). He was a master of the Greek language, moving from Homeric formulas to the language of daily life in a few lines. He was the first European author to make personal experiences and feelings the main subject of his poems: the controlled use of the personal voice in his verse marks a distinct departure from other surviving Greek verse, which is typically more formulaic and heroic. For his technical accomplishments Archilochus was much admired by later poets, such as Horace, but there was also severe criticism, especially of a moralistic character, by writers such as the poet Pindar (5th century BCE).From https://www.britannica.com/biography/Archilochus-Greek-author. For more information about Archilochus:“Archilochus”: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A2008.01.0480%3Avolume%3D2%3Atext%3D21“Archilochus: A poet and a mercenary?”: https://www.ancientworldmagazine.com/articles/archilochus-poet-mercenary/

It was said her poetry will be sung as long as there are boats on the nile... There are still boats on the nile (last I checked) and yet almost no one know her works...So who exactly was Sappho? Why was she so controversial and what happened to her prolific body of work? Discover the remarkable life, work and loss of the 7th century BC poetess who was considered equal to Homer in this week's Classical Wisdom Speaks episode. You can help inspire the love of history, poetry and archeology in the next generation with Classical Wisdom's newest children's book - Sappho: The Lost Poetess. Purchase it on Amazon here: http://tick.news/i2 You can learn more about Classical Wisdom and Classical Wisdom Speaks here: https://classicalwisdom.com/Get your FREE Guide: How to Be Happy: An Ethical Guide to ancient Philosophy here: http://classicalwisdom.com/how-to-be-happy/

In this episode we are going to take a snapshot look at Winter and how it has impacted humanity ever since our emergence. We look at all this through a 2,500 year old poem by the fascinating Alcaeus of Mytilene, and how something like a season can connect us all through time and place.   Like, Share and Comment to help spread the good times! For all updates on new episodes, follow me on Twitter here: @PodcastTale or Facebook here: @PodcastTale   https://toastedtale.podbean.com/

The Life of Hercules in Myth & Legend, written by Mark Cartwright and narrated by Richard de Man. If you like our audio articles, please support us by becoming a member or donating to our non-profit company: www.ancient.eu/membership/www.ancient.eu/donate/www.patreon.com/ahe Hercules is the Roman name for the Greek hero Herakles, the most popular figure from ancient Greek mythology. Hercules was the son of Zeus, king of the gods, and the mortal woman Alcmene. Zeus, who was always chasing one woman or another, took on the form of Alcmene's husband, Amphitryon, and visited Alcmene one night in her bed, and so Hercules was born a demi-god with incredible strength and stamina. He performed amazing feats, including wrestling death and traveling twice to the underworld, and his stories were told throughout Greece and later in Rome, yet his life was far from easy from the moment of his birth, and his relationships with others were often disastrous. This was because Hera, the wife of Zeus, knew that Hercules was her husband's illegitimate son and sought to destroy him. In fact, he was born with the name Alcaeus and later took the name Herakles, meaning "Glory of Hera", signifying that he would become famous through his difficulties with the goddess..

Collection of bloopers from our time recording with the lovely Rob Stith.

This week, deep in the Dreaming Sea, we meet Alcaeus, Abbathar, and Muzenia. An exiled Solar, and those who would think to hunt him.  Link to discord: https://discord.gg/82zkBbN Patreon: https://www.patreon.com/user?u=4045304 The Orpheus Protocol: http://www.orpheusprotocol.com/ Theme is New by Elvis Herrod released under the Creative Commons license: https://creativecommons.org/licenses/by-nc-sa/4.0/

In this episode, we discuss part 2 of 2 on the influential poets whose writings gives us insight into the economic, social, and political happenings that reshaped archaic age Greece; in particular, we look at the turbulent history of late 7th and early 6th century BC Mytilene, which finds itself at the intersection of two great poets (Alcaeus and Sappho), tyranny, and one of the so-called "Seven Sages" (Pittacus), making it a perfect case study; and in response to all of these enormous economic, social, and political changes arose the phenomenon of the lawgiver, many of which were among the "Seven Sages" Show Notes: http://www.thehistoryofancientgreece.com/2016/08/019-poets-and-wise-rulers.html

Jeffrey Walker’s Aesthetic/Epideictic   Welcome to MR, the podcast for beginners and insiders about the ideas, people and movement who have shaped rhetorical history. I’m Mary Hedengren, Samantha’s in the booth, Humanities Media Project is the sponsor and Jeff Walker is the subject. Jeffrey Walker is kind of my hero in life. I get weird around him, the way some people get around Natalie Portman or David Beckham. I came to the University of Texas, in part, because I so admired his work, but when I got here and saw him at parties I found that I mostly awkwardly stood four feet behind him, which—incidentally, is the exactly position the camera takes behind the protagonist in horror movies and I suspect that that didn’t help me much in meeting him. Since then I’ve taken a class from Dr. Walker, had him speak at official RSA student chapter meetings, even had a one-on-one seminar with him, where every week I would exit his office to a world where the sun shone brighter and the birds sang sweeter. That’s how much I like Jeffrey Walker. He’s a great human being, but he’s also a darn fine scholar.   Dr. Walker’s first book in 1989, Bardic Ethos and the American Epic Poem may sound on first blush like a piece of literary criticism, but it’s actually about persuasion, the very particular kind of persuasion that demands that the listener put in as much or more work than the rhetor. In this book, Walker looked at a very specific genre—the American Epic—and a specific period and school, and inquired about what kind and amount of rhetorical work being done. The main difficulty here seems to be audience. To write an American epic that can both express and inspire the nation en masse, the poet has got to speak to those masses. But to be a high literary, post-Romantic bard, the poet has to deal in the kind of textual, allusion, and thematic obscurity that is incomprehensible to the masses. In hisconcluding paragraphs, he sums up the struggle nicely: “The bard, in short, is obliged to reject the available means for effectively communicating his historical, political, and ethical vision to the public mind insofar as he wants to succeed with his tribal audience” (240, emphasis in original). Bardic Ethos and the American Epic Poem traces the American literary attempts at prophecy without populism from its origins in Whitman’s “moral magnetism” (30). First identifying both high poetic speech (93) and “conventions and expectations” for the audience (118), as the reasons for Pound’s failure to be a “Whitman who has learned to wear a collar” (2), the book then examines Crane’s inability to “use his mythic ideal to redeem or bless the present” (136), in part because “’the popular’ in a modernist context is generally beneath respectability” (145). While William Carlos Williams what Walker on another occasion called the “good guy of the book” (15/2/2011) in trying to write Paterson for “a public at least partly comprise of actual people” (157), he, too, fails to write a work that is accepted in both popular and literary circles. Olson’s Maximus Poems seek a similar project, but in describing the few that can transform many sometimes becomes almost eugenically elitist, even to the point of justified genocide (234). In the end, it seems as though these modernist bardic writers must chose between a literary and a popular audience (240), usually coming down on the side of the literati, ultimately described as the “tribe with whom [the author] is marooned” (243).       I’m very interested in this book’s premise of irreconcilable audiences. You might see how this concept could coordinate with Wayne Booth’s image of the author sitting around waiting for an audience. While Booth dismisses this idea, this book kind of suggests that it happens, regardless of the author’s intention; these writers sought a broad and a specific audience, but only the specific audience came to the table. I always think about the hero of Nightmare Abbey, who wrote a metaphysical tome so boring that it only sold seven copies. The hero then perks up, calling his readers, in his mind, the seven golden candle sticks. If you write obscure stuff, you probably aren’t going to reach a wide audience.   The other hugely influential book Walker wrote about the rhetoric of poetics is his 2000 Rhetoric and Poetics in Antiquity. The book goes way beyond Whitman and his prophetic bards to ancient Greek lyric poetry. Poetry back then was always publicially performed and that, Walker argues, means that it was always public persuasion. One of the key ways this happened what through the lyric enthymeme. The Enthymeme, to refresh, is when the audience supplies part of the argument. So [shave and a haircut]. Or, to make it poetic, when Ol Yeller is, spoiler alert, put down, the 20th century American audience things “Oh, dogs are like friends and it’s sad when they die” instead of, like 14th century Aztecs, thinking, “what’s the big deal? We kill dogs every day—and eat them.” The audience supplies part of the argument of any aesthetic piece. It seems like the main argument Walker’s making in this book is that the epideictic isn’t derivative and secondary to the other genres of rhetoric, but actually primary and of almost “pre-rhetorical” origin. In supplying many examples of ancient poets who were able to produce the best lyric enthymemes, Walker not only builds up evidence to support his over all claim, but he creates sub-categories and conditions for this kind of lyric enthymeme.. One of the most interesting of these divisions is the “Argumentation Indoors/Argumentation Outdoors” distinction Walker illustrates with Alcaeus and Sappho’s lyric poetry. So some of the public performance weren’t big publics. If Alcaeus spoke only to his hetaireia (remember them? The geisha like prostitutes like Aspasia?) or that Sappho make have written for an intimate circle of acquaintances and devotees doesn’t have to imply that their poetry could appeal only to those small groups. In fact, Walker claims that “just the opposite is true” and the poems “offer enthymematic argumentation that engages with the discourses of a wider audience” to cement their continued influence (249). The ideal situations for this kind of poetic influence disintegrate, though. The book is, after all, called Rhetoric and Poetics in Antiquity and it’s understandable that the tracing of suasive lyric has to end somewhere, so Walker seem to mark the beginning of the end, in both Greece and Rome, with the literaturaization of poetry and the Aristoltization of rhetoric. The former leads to a paradigm that literature is removed from everyday life, erudite, a “decorative display” (57) that “cannot escape the rhetorical limitations of symposiastic insider discourse” (289); the latter downplays the rhetorical nature of poetry (281) while emphasizing rhetoric’s relation to the civic responsibilities of the forum and the court. So you can see why I have so much hero-worship for Jeffrey Walker. In fact, I’m not entirely convinced this is going to be our last podcast on his work. Yeah. If you have a reason why you love Jeff Walker, or –I guess—if you want to suggest a podcast about your own rhetorical heroes, send me an email at mererhetoricpodcast@gmail.com. I’ll just be sitting here, dreading the possibility that Dr. Walker might hear this podcast, getting embarrassed and awkward for a while.      

The sounds and rhythms of Latin poetry, focusing on the Alcaic form with readings from Horace's ode 3.6.

Transcript -- The sounds and rhythms of Latin poetry, focusing on the Alcaic form with readings from Horace's ode 3.6.