Podcasts about Apuleius

V jedné bohyni jsou všechny: V čem se podobá Kybelé, Artemis, Isis a Maria.

Anna Blennow beskriver sitt sökande efter biblioteket som har tillhört den man som tros ligga bakom 1600-talspseudonymen Skogekär Bergbo. Och funderar över bokryggarnas mystiska verkan. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Klockan på väggen tickade. Sekund för sekund blev synlig, oändligt lång, som om sekundvisaren tvekade för varje slag. Tiden i den predigitala eran kunde vara så totalt tom, det ensamma rummet, möblerna som stod stilla på sina platser. Den enda vägen ut ur tiden var via bokstäverna. Böckernas ryggar i bokhyllan var som brev från en framtid, ett liv som kanske skulle komma att bli mitt eget när jag blev vuxen. ”Ekelöfs nej”. ”Brott och straff”. ”Rutiga kokboken”. Jag läste titlarna om och om igen, så att orden förlorade sin betydelse och blev besvärjelser som skulle hjälpa mig genom den tomma tiden.När jag långt senare kom att öppna böckerna vars ryggar var så välbekanta blev jag ofta besviken. Innehållet kunde inte mäta sig med de drömmar som de kortfattade titlarna hade skapat i mig. Det var alltså inte där livet fanns. Kanske var det i stället ensamheten som bodde i bokbanden, sökandet efter betryggande svar och fasta strukturer.”Siste quisquis ante portam es. Stanna, vem än du är, framför porten. Knacka inte på dörren och ge inte ett ljud ifrån dig. Den här platsen är helig. Detta är de gudomliga och mänskliga vetenskapernas helgedom. Här är de dödas rådsförsamling och dyrkan. Härifrån må alla arbetets mödor, allt larm och de som är okunniga om litteratur vika hädan. Stör inte ägarens ensamhet och frid.”Så stod det skrivet på latin ovanför dörren till ett av författaren Schering Rosenhane den äldres bibliotek. Länge visste man inte mer om hans boksamling än att den funnits. I en lista över de inventarier den noggranne Rosenhane förvarat på sitt kontor förtecknades boklistor från alla hans gods: Torp och Tistad i Södermanland, Säby i Järfälla, det Rosenhaneska palatset på Riddarholmen, och hans ståthållarvåning på slottet Tre Kronor. Men listorna själva är inte bevarade, och boksamlingen skingrad. Det var i samband med mitt forskningsprojekt om Rosenhane som den troliga författaren bakom diktarpseudonymen Skogekär Bergbo som jag påbörjade jakten på hans böcker.Schering Rosenhane var ämbetsman under drottning Kristinas regering på 1600-talet, ofta på statliga uppdrag utomlands. Men var han än befann sig var han på jakt efter böcker. I Paris fick han som ung student utan pengar låna till sig den läsning han längtade efter. När han sändes till de Westfaliska fredsförhandlingarna köpte han redan på väg dit, visar räkenskaperna, en hög med böcker – och en luta, för att kunna spela och dikta på lediga stunder. I Münster bodde han hos den beryktade boksamlaren Bernhard Rottendorff, vars ”sköna bibliotek” han fick begagna. Ur den svenska stormaktstidens krigsbyten belönades han för sitt fredsmäkleri med mängder av böcker. Till sonen Johan, på studieresa i Holland, sände han inköpslistor på vackra objekt till biblioteken: glober, kopparstick, kartor.Johan Rosenhane älskade också böcker. Och det var i hans bibliotekskatalog som jag hittade den: en boklista skriven med Scherings hand, om totalt nästan 600 volymer. Här var det: Schering Rosenhanes bibliotek. Men inte hela. Ett bibliotek värdigt en boksamlare rymde vid den här tiden tusentals böcker. Johan hade ärvt godset Tistad efter faderns död, och troligen var det böckerna i det biblioteket som fanns i listan.Men det var en kryptisk förteckning: oftast bara en förkortad titel och författarens efternamn. Inga tryckorter och årtal. ”Cicero, två band”. ”Apuleius verk”. Om jag ville spåra just de här böckerna skulle det bli svårt. Men det fanns, visade det sig, en lösning. Efter Johans död såldes snart biblioteket på Tistad. Det gamla huset skulle rivas, bibliotekssalen försvann, och böckerna såldes till ett kansliråd vid namn Eckleff. Men han hade det svårt ekonomiskt och lät sälja alltihop igen. Auktionskatalogen finns kvar, och där kunde jag para ihop verk efter verk med exemplaren i boklistan. Och så kunde jag ge mig ut till de samlingar och bibliotek dit många av böckerna vandrat på olika vägar. Att jag hittat rätt exemplar kunde jag se från Eckleffs ex libris; ibland fanns Johan Rosenhanes signatur i boken, ibland initialerna S.R. – Schering Rosenhane. Och på böckernas ryggar i vita pergamentband hade Schering med egen hand tecknat titel och författare i brunt bläck.Böckerna skulle innehålla fler indicier till lösningen på gåtan om Skogekär Bergbo, men det mest omvälvande för mig var inte innehållet, utan att hålla böckerna i mina händer. Känslan var långt starkare än när jag undersökt hans brev och manuskript. Det förvånade mig först, men så förstod jag: När jag bläddrar i böckerna och läser en rad här och där gör jag precis samma sak som han själv gjorde. Hans händer har vänt de här bladen precis som mina gör nu, och precis som jag har han sökt kunskap mellan de här pärmarna. I böckerna möts våra världar och är precis desamma.Böcker är inte bara objekt i sig. De bär på ytterligare fysiska spår bortom sig själva: tummade smutsiga sidor, spår av kyssar på en illuminerad helgonbild i en medeltida codex, utflutet bläck där någon strukit under eller antecknat. Böckernas historia är bibliotekens historia, men också materialens: papyrus, pergament, papper.De stora biblioteken, skriver Irene Vallejo i ”Papyrus – om bokens födelse i den antika världen”, utsattes lättare för plundring och bränder. De antika verk vi läser idag skyddades i perifera och obetydliga samlingar där de klarade sig från förödelse. Biblioteken har genom historien utgjort skyddsrum både för böcker och läsare. ”Stör inte ägarens ensamhet och frid”, stod det i biblioteket på Tistad. Begreppet, otium et solitudo, är lånat från Petrarca, som i sin tur fått det från antiken: Cicero skriver om författaren och statsmannen Cato den äldre att han aldrig var ”mindre sysslolös än när han var ledig, och aldrig mindre ensam än när han var för sig själv”. I biblioteken kunde Cicero, Petrarca och Schering Rosenhane tala med det som var förgånget och försvunnet. Och jag kan stå intill och lyssna.Bredvid universitetet där jag arbetar ligger biblioteket. När jag kommer upp för backen brukar jag alltid välja biblioteksentrén, förbunden med universitetet genom en inglasad passage, för att få en fläkt av den trygghet som strömmar ut från bokhyllor, läsplatser och bokmagasin insprängda i berggrunden. Det som präglar det tryckta ordet i motsats till digitala publikationer, skriver Lothar Müller i sin studie ”Vit magi – papperets epok”, är inte bara böckernas tredimensionella form och materialitet, utan också det fastslagna, oföränderliga. En bok kan till skillnad från en e-bok inte formateras om eller uppdateras. Det förgångna går inte att förändra, men inte heller att förlora, viskar böckernas ryggar, och det fyller mig med trygghet. Den torra doften av papper, den lite syrliga lukten av bokband, otium et solitudo. Tiden står stilla, men inte i väntan och ensamhet, utan närvaro.Anna Blennowlatinforskare och poetLitteratur Irene Vallejo: Papyrus – om bokens födelse i den antika världen. Översättare: Annakarin Thorburn. Albert Bonniers förlag, 2023.Lothar Müller: Vit magi: papperets epok. Översättare: Tommy Andersson. Glänta Produktion 2023.Kathryn M. Rudy, ”Touching parchment: how medieval users rubbed, handled, and kissed their manuscripts”, OpenBook Publishers 2023, Open access https://www.openbookpublishers.com/books/10.11647/OBP.0337Anna Blennow, ”Schering Rosenhanes kärleksvisa. En herdes väg från Seine till Sverige”, Tidskrift för litteraturvetenskap 1/2024, Open access https://publicera.kb.se/tfl/issue/view/1798

Apuleius' ‘Metamorphoses', better known as ‘The Golden Ass', is the only ancient Roman novel to have survived in its entirety. Following the story of Lucius, forced to suffer as a donkey until the goddess Isis intervenes, the novel includes frenetic wordplay, filthy humour and the earliest known version of the Psyche and Cupid myth. In this episode, Tom and Emily discuss Apuleius' anarchic mix of the high and low brow, and his incisive depiction of the lives of impoverished and enslaved people.This is an extract from this episode. To listen in full and to our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsFurther reading in the LRB:Peter Parsons: Ancient Greek Romanceshttps://www.lrb.co.uk/the-paper/v03/n15/peter-parsons/ancient-greek-romancesLeofranc Holford-Strevens: God's Willhttps://www.lrb.co.uk/the-paper/v25/n10/leofranc-holford-strevens/god-s-will Hosted on Acast. See acast.com/privacy for more information.

Åsnan har fungerat som en symbol för dumhet och envishet, men i litteraturen kan man ana att djuret har en större betydelse än så. Torbjörn Elensky inspireras av dess konstruktiva dumhet. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Hur är det egentligen: är dumhet bara brist på intelligens eller är det en egenskap i egen rätt? Kan det finnas olika slags dumhet, precis som det finns olika slags intelligens? Övergripande, språklig, matematisk, social, politisk... kanske finns det även kreativ och konstruktiv dumhet, som kan leda till framsteg för mänskligheten? Kanske finns det också en viss intelligent dumhet, som den där listiga strategin för att slippa ansvar, som återfinns i uttrycket ”hacerse el sueco”, att göra sig svensk. Att göra sig svensk är till exempel att låtsas som man inte fattar för att slippa dela på notan, komma undan ansvar för något man gjort, som ett barn som gör sig tungt för att inte kunna lyftas gör sig denna variant av svensken oförstående för att inte dras in eller ställas till svars. Man kan fundera länge på varför spansktalande fått för sig att just svenskar är så funtade, men den makthavare som säger sig ha varit naiv gör sig i detta svensk, se hace el sueco.Det bästa exemplet på konstruktiv dumhet i den moderna litteraturen är nog den tappre soldaten Svejk, i den tjeckiske författaren Jaroslav Haseks roman från 1921. Svejk är tjock och trög, men alltid optimistisk och villig att stå till tjänst. Han driver sina överordnade till vansinne genom att ta deras order bokstavligt, vara orimligt plikttrogen och alltid bemöta alla klagomål med ett nöjt leende. Han är en riktig åsna, men med sin dumhet avslöjar han överhetens och hela första världskrigets absurditet. Åsna ja, djuret som förknippas med dumhet vandrar också sida vid sida med litteraturhistoriens mest berömda kloka dumbom. Sancho Panza. Panza följer sin herre don Quijote genom det tidiga 1600-talets Spanien. Riddaren av den sorgliga skepnaden, är bildad och hjältemodig, en hidalgo med ideal från medeltiden som färdas genom den spanska guldålderns Kastilien och som gång på gång måste räddas från sin egen fantasis förvrängning av omgivningen. Hans häst är en riktigt ömklig krake, men den är åtminstone en häst, så den har ett namn. Rosinante. Panzas åsna är enbart en åsna, så den har inget namn utan kallas bara rucio, grå. Den försvinner dessutom utan någon förklaring. Det finns de som trott att Cervantes sjabblade bort den i skrivandet. Men det verkar väl ganska osannolikt? Snarare ligger förklaringen i åsnans symbolik, som inte bara handlar om dumhet utan också om envishet. Den representerar det lägsta folket, de fattiga, slavarna, de som tvingas att tjäna fast de inte vill. De som genom hela historien gjort passivt motstånd genom att låtsas inte förstå order, maska och sinka och gå åt andra hållet. Försvinnandet är alltså mycket medvetet, och den namnlösa åsnan något som förbinder Cervantes roman med andra romaner.Redan de gamla romarna använde åsnan som symbol för dumhet. Quid nunc te, asine litteras doceam? löd ett uttryck. Åsna, ska jag lära dig att läsa och skriva? Den fenomenala romerska romanen ”Den gyllene åsnan” från 100-talet efter Kristus är den enda roman på latin från antiken som överlevt. Precis som i de grekiska romaner författaren Apuleius imiterar, är handlingen varierad och komplicerad. Det handlar Lucius, en ung man som är väldigt intresserad av magi och som tänker förvandla sig själv till en fågel – men istället blir till en åsna. Han upplever en mängd exotiska resor och äventyr i denna skepnad, tills han befrias av gudinnan Isis, vars kult han ansluter sig till. Det är utvikningarna som är romanens stora behållning. Den blev enormt populär när den trycktes första gången i Italien 1469. Den översattes och spreds snabbt över Europa. Den första översättningen till spanska trycktes i Sevilla redan 1513 och här gjorde den så stor succé att den gav upphov till pikareskromanerna, berättelser om personer som reser runt i Spanien och upplever det ena äventyret efter det andra. Precis som i ”Don Quijote” alltså, som kan sägas vara både kulmen på detta litterära skede och öppningen till de följande århundradenas europeiska romankonst.Litteraturen avslöjar en sanning: Åsnan är inget dumt djur, inte egentligen, tvärtom är dess envishet snarare ett uttryck för intelligens. Den vill inte lyda. Men den är en av människans verkligt gamla tjänare. Troligen först tämjd av afrikanska herdar för mer än 6000 år sedan. Man har i Egypten hittat åsnegravar äldre än pyramiderna. Josef, Maria och Jesus flydde till Egypten på en åsna, på samma djur red Jesus in i Jerusalem. Den klassiskt antika åsnan förenas med den bibliska åsnan, främst genom Det nya testamentet, men även i det gamla återkommer vårt trogna arbetsdjur, än som symbol för dumhet, än för ödmjukhet och det enkla arbetande folket. Särskilt central är legenden om Bileams åsna i fjärde Mosebok. I den är det åsnan som har förmågan att se en ängel som spärrar vägen för Bileam, som blir arg och piskar åsnan varpå denna mirakulöst får talets gåva och frågar varför Bileam slår honom. Till slut visar sig ängeln även för människan, men den enkla, dumma åsnan såg den först.Den store filosofen, diktaren och astrologen Giordano Bruno förenar den antika och den bibliska åsnan på ett sätt som verkligen skingrar alla motsägelser. I den lilla skriften ”Den pegasiska hästens kabbala” från 1585 hålls ett lovtal till den kristna ödmjukhetens åsna. Texten är full av ironiska blinkningar och vändningar och åsnan blir en samlande symbol för det kristna hyllandet av okunskap som väg till frälsning. Bruno var ingen vän av okunskap, vilket framgår med önskvärd satirisk tydlighet. Men i den senare delen av boken kommer åsnan tillbaka. Nu är det den som segrar över de mänskliga akademiernas tjockskallighet – och det visar sig att den vita bevingade hästen Pegasus, i själva verket var en åsna. Liksom Bruno själv, som på grund av sitt envetna fasthållande vid sina övertygelser väckte kyrkans missnöje och brändes på bål av inkvisitionen i Rom år 1600.Kanske är dumhet en av våra viktigaste egenskaper. För Sokrates var detta att göra sig dum ett sätt att tvinga folk att bena upp sina egna resonemang, lite som Svejk fick sina befäl att göra bort sig genom att lyda dem. Intelligenta personer kännetecknas också av sin överlägsna förmåga att försvara galna idéer med skarpare argument än mindre begåvade människor. Den intelligenta vill glänsa, ta plats, vara först med det senaste och vecklar lätt in sig i omständligt försvar för abstraktioner som leder käpprätt till helvetet. Den som är lite åsneaktig däremot låter sig inte så lätt dras med av det senaste, den bryr sig inte om flärd och prestige utan stretar på i tysthet. Det är bara en intelligent person som skulle kunna få för sig att upphöja dumheten till ideal, medan åsnan inte skulle bry sig om att den tilldelades hjälterollen. Den skulle spela svensk, göra sig tung, streta vidare i sin takt och på sin höjd skulle den le åt påståendet att den i själva verket var en Pegasus.Torbjörn Elenskyförfattare och essäistLitteraturGiordano Bruno: Den pegasiska hästens kabbala. Översättare: Gustav Sjöberg. Eskaton, 2024.Miguel de Cervantes: Den snillrike riddaren Don Quijote av La Mancha. Översättare: Jens Nordenhök. Nilsson Förlag, 2016.

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De wonderen van Jezus moeten, net als alle verhalen uit de eerste eeuw, begrepen worden binnen de context van de Grieks-Romeinse wereld, de enige wereld die de auteur en zijn publiek kenden. Om deze verhalen op een verantwoorde manier te evalueren en uit te leggen, moeten we voortdurend verwijzen naar die cultuur, haar waarden, aannames en populaire symbolen.Twee sleutelelementen in de wonderen van Jezus zijn het machtsvertoon en de specifieke interacties tussen Jezus en de mensen die hulp zoeken. Deze elementen benadrukken het belang van zijn macht en onthullen zijn karakter.De god die het meest bekend stond om zijn genezingen was Asclepius (door de Romeinen Asculapius genoemd). Hij werd geboren uit een menselijke moeder, Coronis, die zwanger was gemaakt door Apollo. Asclepius was dus de zoon van een god. Tegen de eerste eeuw was zijn verering zo wijdverspreid dat zijn standbeeld in de tempel van Apollo werd geplaatst.Als pasgeborene werd Asclepius door zijn vader van de dood gered en opgevoed door de genezer Chiron, die hem al zijn vaardigheden leerde. Asclepius overtrof Chiron al snel, en zijn krachten waren zo groot dat hij mensen uit de dood zou kunnen doen herrijzen. Hij betaalde dit echter met zijn leven omdat Hades bij Zeus klaagde dat Asclepius' acties de bevolking van de onderwereld verminderde. Zeus beval daarop de Cycloop om een bliksemschicht te maken om Asclepius te doden.Desondanks werd Asclepius een godheid die overal bekend was, zoals Apuleius opmerkte. Zijn wonderbaarlijke krachten werden toegeschreven aan het feit dat hij de zoon was van Apollo, de god van de gezondheid. Asclepius' populariteit kwam echter ook voort uit zijn grote menselijkheid, zijn medelevende zorg voor leven en gezondheid voor iedereen, ongeacht sociale status, en de afwezigheid van egoïstische mythen over hem. Hij diende geen troon, beschikte niet over een leger en maakte geen deel uit van een koninklijke familie. Asclepius werd dus gezien als een internationale redder-dokter godheid.Tegen deze achtergrond hebben juist de Grieken en Romeinen de wonderverhalen begrepen die aan Jezus werden toegeschreven. Dat betekent dat zij, anders dan de Joden van die tijd, de wonderen als direct bewijs van Jezus goddelijke herkomst hebben gezien. Dat was immers conform het patroon dat zij allemaal kenden en waar ze mee waren opgegroeid. Dat maakte de weg vrij voor de latere vergoddelijking van Jezus.Become a supporter of this podcast: https://www.spreaker.com/podcast/koinonia-bijbelstudie-live--595091/support.

Frank and Gaz go long and deep on the question of who got to meet the Beatles 'for real' in Australasia and beyond. In navigating the sensitive theme of sex and rock 'n' roll, they return to classical roots in the writing of Petronius, Ovid and Apuleius. Informed by these texts and the more recent 'Sex and the Beatles: 400 entries', they ask whether Beatles lyrics from 1963-64 suggest less innocent themes. Are there power games at play? And when John Lennon compared the tour to Satyricon, did he have in mind scopophilia?

Review of The Golden Ass by Apuleius Goodreads review mentioned (https://www.goodreads.com/book/show/80080.The_Golden_Ass#CommunityReviews (top review, Bill Kerwin) --- Become part of the Hermitix community: Hermitix Twitter - ⁠⁠⁠⁠ twitter.com/hermitixpodcast⁠⁠⁠ ⁠ Support Hermitix: Patreon - ⁠⁠⁠ ⁠www.patreon.com/hermitix⁠⁠ Donations: - ⁠⁠⁠⁠https://www.paypal.me/hermitixpod⁠⁠⁠⁠ Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLK Ethereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9B75a00D9E74

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Sometimes we get tales of star-crossed lovers and, well... sometimes we get whatever this is. Let's explore the bizarre story of Psyche, a tale which feels as though every character needs to be sat down in a psychiatric chair and work through some issues. Just an advance warning- there are some references to suicide in the story itself (although this is kept to an absolute minimum in our retelling). Sources for this episode: Apuleius (2004), The Golden Ass. Translated by E. J. Kenney. London: The Penguin Group. Cooper, R. L. (date unknown), "Walking About in the Heart of the Forbidden Zone": Surrealist Practices and Affective Space.  Di Leo, J. R. (2015), Higher Pleasure: In Defense of Academic Hedonism. The Comparatist 39: 196-207. Author unknown, Wikipedia (date unknown), Hedone (online) (Accessed 29/05/2024).

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Help keep our podcast going by contributing to our Patreon! Psyche and Eros is an ancient love story that has always had the power to compel. It's the story of a god of passion who falls in love with the personification of the human soul—and the lengths these two will go to in order to be together. But the lone source we have for this myth is The Golden Ass by Apuleius—a satirical novel about a man who gets turned into a donkey. What can we learn about this myth by looking at its original source? What was the author of The Golden Ass trying to tell us about love and women's role in it (if anything)? Today we team up with Luna McNamara, bestselling author of Psyche & Eros, to try to get to the bottom of it. Sponsors and Advertising This podcast is a member of Airwave Media podcast network. Want to advertise on our show? Please direct advertising inquiries to advertising@airwavemedia.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

For the final introduction to next year's full Close Readings programme, Emily Wilson, celebrated classicist and translator of Homer's Iliad and Odyssey, returns for a second season of Among the Ancients, to take on another twelve vital works of Greek and Roman literature with the LRB's Thomas Jones, loosely themed around ‘truth and lies' – from Aesop's Fables to Marcus Aurelius's Meditations.Authors covered: Hesiod, Aesop, Herodotus, Pindar, Plato, Lucian, Plautus, Terence, Lucan, Tacitus, Juvenal, Apuleius, Marcus Aurelius.First episode released on 24 January 2024, then on the 24th of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Emily, Tom and special guests including Amia Srinivasan; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

For the final introduction to next year's full Close Readings programme, Emily Wilson, celebrated classicist and translator of Homer's Iliad and Odyssey, returns for a second season of Among the Ancients, to take on another twelve vital works of Greek and Roman literature with the LRB's Thomas Jones, loosely themed around ‘truth and lies' – from Aesop's Fables to Marcus Aurelius's Meditations.Authors covered: Hesiod, Aesop, Herodotus, Pindar, Plato, Lucian, Plautus, Terence, Lucan, Tacitus, Juvenal, Apuleius, Marcus Aurelius.First episode released on 24 January 2024, then on the 24th of each month for the rest of the year.How to ListenClose Readings subscriptionDirectly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsClose Readings PlusIn addition to the episodes, receive all the books under discussion; access to webinars with Emily, Tom and special guests including Amia Srinivasan; and shownotes and further reading from the LRB archive.On sale here from 22 November: lrb.me/plus Hosted on Acast. See acast.com/privacy for more information.

Hello!I'm very excited about this episode! Farrell Monaco is a culinary & experimental archaeologist, and bread-baking addict! Especially of the ancient Greco-Roman variety...So what better person to chat about the ancient cuisine? And it's a very thought-provoking and thoughtful. Who were the people (and the animals!) who did the hard work?Currently in California -where she was when we spoke online- but mostly researching in Pompeii, Herculaneum and Ostia about ancient Greco-Roman breadways.More info on bread from Pompeii by Farrell Monaco:https://www.bbc.com/travel/article/20230629-adoreum-the-newly-discovered-flatbread-fresco-of-pompeiihttps://www.bbc.com/travel/article/20230406-arculata-the-bread-that-survived-pompeiiApuleius and The Golden Ass:https://en.wikipedia.org/wiki/The_Golden_AssEtruscan Tarquinian Tombs:https://tarquiniaturismo.com/tomb-of-the-triclinium/?lang=en Farrell's website and blog:https://tavolamediterranea.com/Enjoy!Thom & The Delicious LegacySupport this show http://supporter.acast.com/the-delicious-legacy. If you love to time-travel through food and history why not join us at https://plus.acast.com/s/the-delicious-legacy. Hosted on Acast. See acast.com/privacy for more information.

In PX110, our interview guest is Professor Tim Parkin, we talk all things Roman, particularly their city life. Tim Parkin joined the Classics and Archaeology department at the University of Melbourne in 2018 as the inaugural Elizabeth and James Tatoulis Chair in Classics. Before this he had spent over 11 years as Professor of Ancient History at the University of Manchester (UK). Tim is a New Zealander by birth who was awarded a D.Phil. at Oxford as a Rhodes Scholar and who, since 1989, has worked in universities in New Zealand, Australia, and the United Kingdom, as well as spending over a year in Germany as an Alexander von Humboldt research fellow. His teaching covers both Greek and Roman history and classical languages. His main research is in ancient history, particularly Roman social, cultural, and demographic history. Among his publications are Demography and Roman Society (1992), Old Age in the Roman World: A Social and Cultural History (2003), Roman Social History: A Sourcebook (2007), and The Oxford Handbook of Childhood and Education in the Classical World (2014). Tim is currently working primarily on ancient sexual health, in particular sexually transmitted diseases, as well as co-editing a cultural history of old age from antiquity to the current day and a BICS supplement on domestic violence in the Roman world, and working on papers on elders in the early Christian church and the demographic realities of the ancient countryside. He is currently supervising research students in a wide range of topics including feminist readings of Ovid's Metamorphoses, the geographical writings of Solinus, concepts of revenge in the Roman world, and the uses of food, magic and drugs in the works of Apuleius. In 2023 he continues in his role as Deputy Head of the School of Historical and Philosophical Studies and he takes on a new role as Deputy Associate Dean (Partnerships) in the Faculty of Arts. He is also Honorary President of the Classical Association of Victoria. In podcast extra / culture corner Tim recommends the NZ actor Sam Neil's Memoir ‘Did I Ever Tell You This?' https://www.textpublishing.com.au/books/did-i-ever-tell-you-this. Tim also recommends ‘Kellis: A Roman - Period Village in Egypt's Dakhleh Oasis' https://www.monash.edu/__data/assets/pdf_file/0011/2749916/Kellis-A-Roman-Period-Village-in-Egypts-Dakhleh-Oasis.pdf. Jess recommends ‘Dead Tide' by Fiona Mcintosh https://www.penguin.com.au/books/dead-tide-9781761344633 Pete recommends ‘My father and me' by Nick Broomfield. https://www.bfi.org.uk/sight-and-sound/reviews/my-father-me-nick-maurice-broomfield-working-class-photographer-life Also the work of Maurice Broomfield recognised by the V & A in the book ‘Maurice Broomfield Industrial Sublime' https://www.vam.ac.uk/exhibitions/maurice-broomfield-industrial-sublime (available in many libraries). See also https://mauricebroomfield.photography Audio production by Jack Bavage. Podcast released 30 October 2023. PlanningxChange is proud to be a part of the Urban Broadcast Collective.

In PX110, our interview guest is Professor Tim Parkin, we talk all things Roman particularly their city life. Tim Parkin joined the Classics and Archaeology department at the University of Melbourne in 2018 as the inaugural Elizabeth and James Tatoulis Chair in Classics. Before this he had spent over 11 years as Professor of Ancient History at the University of Manchester (UK). Tim is a New Zealander by birth who was awarded a D.Phil. at Oxford as a Rhodes Scholar and who, since 1989, has worked in universities in New Zealand, Australia, and the United Kingdom, as well as spending over a year in Germany as an Alexander von Humboldt research fellow. His teaching covers both Greek and Roman history and classical languages. His main research is in ancient history, particularly Roman social, cultural, and demographic history. Among his publications are Demography and Roman Society (1992), Old Age in the Roman World: A Social and Cultural History (2003), Roman Social History: A Sourcebook (2007), and The Oxford Handbook of Childhood and Education in the Classical World (2014). Tim is currently working primarily on ancient sexual health, in particular sexually transmitted diseases, as well as co-editing a cultural history of old age from antiquity to the current day and a BICS supplement on domestic violence in the Roman world, and working on papers on elders in the early Christian church and the demographic realities of the ancient countryside. He is currently supervising research students in a wide range of topics including feminist readings of Ovid's Metamorphoses, the geographical writings of Solinus, concepts of revenge in the Roman world, and the uses of food, magic and drugs in the works of Apuleius. In 2023 he continues in his role as Deputy Head of the School of Historical and Philosophical Studies and he takes on a new role as Deputy Associate Dean (Partnerships) in the Faculty of Arts. He is also Honorary President of the Classical Association of Victoria. In podcast extra / culture corner Tim recommends the NZ actor Sam Neil's Memoir ‘Did I Ever Tell You This?' https://www.textpublishing.com.au/books/did-i-ever-tell-you-this. Tim also recommends ‘Kellis: A Roman - Period Village in Egypt's Dakhleh Oasis' https://www.monash.edu/__data/assets/pdf_file/0011/2749916/Kellis-A-Roman-Period-Village-in-Egypts-Dakhleh-Oasis.pdf. Jess recommends ‘Dead Tide' by Fiona Mcintosh https://www.penguin.com.au/books/dead-tide-9781761344633 Pete recommends ‘My father and me' by Nick Broomfield. https://www.bfi.org.uk/sight-and-sound/reviews/my-father-me-nick-maurice-broomfield-working-class-photographer-life Also the work of Maurice Broomfield recognised by the V & A in the book ‘Maurice Broomfield Industrial Sublime' https://www.vam.ac.uk/exhibitions/maurice-broomfield-industrial-sublime (available in many libraries). See also https://mauricebroomfield.photography Audio production by Jack Bavage. Podcast released 30 October 2023.

In PX110, our interview guest is Professor Tim Parkin, we talk all things Roman particularly their city life. Tim Parkin joined the Classics and Archaeology department at the University of Melbourne in 2018 as the inaugural Elizabeth and James Tatoulis Chair in Classics. Before this he had spent over 11 years as Professor of Ancient History at the University of Manchester (UK). Tim is a New Zealander by birth who was awarded a D.Phil. at Oxford as a Rhodes Scholar and who, since 1989, has worked in universities in New Zealand, Australia, and the United Kingdom, as well as spending over a year in Germany as an Alexander von Humboldt research fellow. His teaching covers both Greek and Roman history and classical languages. His main research is in ancient history, particularly Roman social, cultural, and demographic history. Among his publications are Demography and Roman Society (1992), Old Age in the Roman World: A Social and Cultural History (2003), Roman Social History: A Sourcebook (2007), and The Oxford Handbook of Childhood and Education in the Classical World (2014). Tim is currently working primarily on ancient sexual health, in particular sexually transmitted diseases, as well as co-editing a cultural history of old age from antiquity to the current day and a BICS supplement on domestic violence in the Roman world, and working on papers on elders in the early Christian church and the demographic realities of the ancient countryside. He is currently supervising research students in a wide range of topics including feminist readings of Ovid's Metamorphoses, the geographical writings of Solinus, concepts of revenge in the Roman world, and the uses of food, magic and drugs in the works of Apuleius. In 2023 he continues in his role as Deputy Head of the School of Historical and Philosophical Studies and he takes on a new role as Deputy Associate Dean (Partnerships) in the Faculty of Arts. He is also Honorary President of the Classical Association of Victoria. In podcast extra / culture corner Tim recommends the NZ actor Sam Neil's Memoir ‘Did I Ever Tell You This?'  https://www.textpublishing.com.au/books/did-i-ever-tell-you-this. Tim also recommends ‘Kellis: A Roman - Period Village in Egypt's Dakhleh Oasis' https://www.monash.edu/__data/assets/pdf_file/0011/2749916/Kellis-A-Roman-Period-Village-in-Egypts-Dakhleh-Oasis.pdf. Jess recommends ‘Dead Tide' by Fiona Mcintosh https://www.penguin.com.au/books/dead-tide-9781761344633 Pete recommends ‘My father and me' by Nick Broomfield. https://www.bfi.org.uk/sight-and-sound/reviews/my-father-me-nick-maurice-broomfield-working-class-photographer-life  Also the work of Maurice Broomfield recognised by the V & A in the book ‘Maurice Broomfield Industrial Sublime' https://www.vam.ac.uk/exhibitions/maurice-broomfield-industrial-sublime (available in many libraries). See also https://mauricebroomfield.photography Audio production by Jack Bavage. Podcast released 30 October 2023.

When Luna McNamara gushed over the help she got from Dr. Regine May, we HAD to contact her and invite her on to talk to us.The conversation mainly centres around Cupid and Psyche, but also magic gemstones, love spells and what benefit we would get from learning Latin in 2023. For fans of Apuleius and his influences, this one is an episode not to be missed!Twitter: @ReginemayAmazon: https://www.amazon.co.uk/Apuleius-Story-Psyche-Regine-May-ebook/dp/B07N6WPV7X/ref=sr_1_1?keywords=regine+may+cupid+psyche&qid=1687128728&sprefix=regine+ma%2Caps%2C74&sr=8-1 

The Quest of Psyche for the Heart of Eros The story of Eros and Psyche appears in a single text: "The Metamorphoses" by Apuleius, believed to have been written between 160 and 180 AD. In this novel, the myth of Psyche and her quest for the heart of Eros is a story within the story. An old woman narrates it to a young girl. For this reason, it is believed that the author drew inspiration from an oral tale. Discover their story in this episode. Production : Bababam Voice : James Brack Translation of the french script of Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

Liv is joined by author Luna McNamara to discuss her new novel Psyche & Eros (and so much more myth!). Find Psyche & Eros wherever you get your books and follow Luna on Twitter and Instagram. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omny.fm/listener for privacy information.

Boccaccios "Decamerone" får ny relevans varje gång ord som epidemi och karantän är på tapeten. Torbjörn Elensky presenterar en fräck klassiker och funderar över var dagens nya berättelser tar form. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad 2020-03-23.Strax innan Coronaepidemin bröt ut vintern 2020 satt jag med en grupp vänner och diskuterade vad som skulle bli kvar av vår kultur vid en världsomspännande katastrof. Vi pratade om hur man planerar att gömma konst, historiska föremål och andra artefakter i väldiga bergrum. Och vi diskuterade givetvis hur stora problemen skulle bli kring tolkningsfrågor, värderingen av verk och så vidare. Hur många kvinnor respektive män? Vilka kulturformer skulle prioriteras? Vilka hänsyn till så kallad representativitet kommer att tas i ett skarpt läge?Bortsett från exakt vilka verk som skulle bevaras kom vi överens om att det viktigaste, det som överlever alla civilisationers sammanbrott, är berättelserna. De historier vi roar varandra med, de som förmedlar minnet av historiska, personliga, komiska och tragiska händelser, både sanna och mytiska, skulle vi, helt utan annan teknisk utrustning, bära med oss vart vi än tvingas vandra. Och över dem kan ingen bestämma: de som väcker genklang, som är viktiga för oss, kommer att föras vidare, medan de andra glöms bort.Den klassiska skildringen av hur en grupp vänner drar sig undan världens sönderfall för att i trygg avskildhet fördriva dagarna med berättande är Giovanni Boccaccios "Decamerone", en av de självklara stora litterära klassikerna. Året är 1348, Florens härjas av pesten, döden är överallt, omväxlande med paniskt festande. Samhället har praktiskt taget kollapsat, då sju unga kvinnor träffas i en kyrka och bestämmer sig för att dra sig undan till en lantvilla för att njuta av lugnet, naturen och varandras umgänge. De bjuder också med tre unga män, som lämpligt nog råkar komma in i kyrkan. Så fördriver dessa tio vänner tio dagar med tio historier var, vilket gett oss hundra noveller.Pesten slog sönder det medeltida Europa. Givetvis var det en katastrof för alla som genomlevde den. Särskilt Italien, som inte var någon enad nation vid den tiden, men där de flesta av Europas rikaste stater och städer låg, drabbades. Feodalismen gick under i pesten. De gamla adelsfamiljerna miste inte bara sina lantarbetare utan många förlorade även egendomarna, till de nyrika som ägnade sig åt handel och bankväsende. Sådana som familjen Medici. Kyrkans makt minskade också. Allt detta beredde vägen för en ny tro på människan, nya rikedomar och faktiskt själva renässansen. Boccaccio beskriver denna öppning i tiden, då människan träder in på scenen i helfigur."Decamerone" ger en direkt bild av vardagslivet i 1300-talets Toscana. I en tid då litteraturen dominerades av helgonlegender, riddarromaner och höviska diktverk, samt då man gärna använde klassiska förebilder och varierade välbekanta historier valde Boccaccio att skriva rakt av, på folkspråket, om sin egen samtid, i noveller fulla av social kritik, bedrägerier, många berättelser om fräcka präster och inte så lite sexuella äventyr, där inte minst historierna om listiga kvinnor som lurar sina makar för att kunna ligga med sina älskare är framträdande. De många kyrkliga dignitärerna i Decamerone är löjeväckande figurer som inte har mer makt över andra än över sig själva. Och sin egen kåthet och girighet behärskar de inte alls. Ingen av berättelserna skildrar de yttersta tingen eller hur någon högre makt ska döma oss för våra synder, utan enbart människor i relation till andra människor.Nya konstformer skapas genom kanoniseringen av låga konstformer, skrev den den ryske litteraturforskaren och Viktor Sjklovskij 1923. Det är lätt att inse att han har rätt, om man gör en snabb översikt över historien. Etablerad konst stelnar alltid förr eller senare och tappar den vitalitet som krävs, åtminstone i vår europeiska tradition, för att den ska vara angelägen för såväl folk som furstar. Och impulserna till nyskapande kommer inte sällan från det folkliga. Decamerone är ett tydligt exempel: en samling berättelser utan högre syfte än att underhålla, lagda i munnen på kvinnor, som talar fritt om sex och synd och falska präster. Decamerone må vara författad av en man, men det är kvinnornas bok.Visst hade Boccaccio litterära förebilder, men inte den högstämde Vergilius som hans äldre kollega Dante utsåg till sin guide genom inferno – och vars Aeneid han ville överträffa med sin gudomliga komedi. Utan Apuleius, en prosaförfattare som var verksam på 100-talet e Kr och vars skabrösa roman Den gyllene åsnan skildrar allt tänkbart snusk och sex och groteskerier i form av berättelser infogade i en ramhandling. Där Boccaccios ramhandling utgörs av de unga vännernas stilla samvaro skildrar Apulejus hur huvudpersonen flänger runt förvandlad till åsna. Men det låga, det folkliga, har verken gemensamt. Totalt tre av de hundra novellerna i Decamerone går tillbaka på antika förebilder, två på Apuleius, och en på den lika folkligt burleska Satyricon, av den romerske författaren Petronius.En pandemi tvingar oss alla att ta nya hänsyn. Några drar sig tillbaka tillsammans, i självvald karantän, precis som de unga kvinnorna och männen i Florens 1348. Liksom till exempel somliga parisare i mars 2020 försökte ta sig till sina landställen, för att vaka ut karantänen på behörigt avstånd från storstadens hotande kaos. Men vad sysslar isolerade ungdomar med i vår högteknologiska tid? Och vilka är de konstformer som kommer att kanoniseras framöver?Den folkliga kreativiteten och berättelserna sprids mest via sociala medier i form av Tiktok-videor, memer och så vidare idag. Dessa tekniska möjligheter och inte minst de former de ger upphov till påverkar naturligtvis även litteraturen och konsten. Exempelvis finns det något fascinerande i memens form, där samma bild åtföljs av olika texter, och därmed får helt olika innebörd, fast hela tiden i ett sammanhang som skapas av memernas relation till varandra i nåt slags oändlig kedja av kollektiva associationer. Eller för den delen de omfattande sammanställningar av Tiktok- och vinevideor, superkorta filmsnuttar som ofta innehåller bisarra skämt, satir, rena slapsticken och variationer på teman, som är både självkommenterande och utåtriktade i närmast oändliga loopar.Viktor Sjklovskij skrev i anslutning till det tidigare citerade, att ”Konsten är, innerst inne, ironisk och destruktiv.” Han uttryckte detta mitt i det kaos som följde åren efter den ryska revolutionen, då han mot alla odds envist arbetade vidare med sina litterära projekt, medan världen föll samman runt omkring honom. Men även om han påverkades av sin samtids katastrofala händelser hade han rätt i att konsten inte bara kan vara uppbygglig, tam, snäll och trösterik, inte om den ska vara verkligt angelägen för oss människor i vår osäkra tillvaro. Sex, maktmissbruk, lustiga sammanträffanden och bedrägerier, där den svagare sätter dit den starkare, roade oss i lika mycket i antikens Rom och medeltidens Florens som i vår samtid. Epidemier, pandemier och andra katastrofer kommer och går. Mänskligheten har hittills trots allt klarat sig. Och våra berättelser med oss.Torbjörn Elensky, författare

Linked to both the Greek god Hermes and the Egyptian god Thoth, Hermes Trismegistus is credited, through legend, with thousands of mystical and philosophical writings of high standing, each reputed to be of immense antiquity. During the Renaissance, a collection of such writings known as the Corpus Hermeticum greatly inspired the thought of philosophers, alchemists, artists, poets, and even theologians. Offering new translations of seven essential Hermetic texts from their earliest source languages, Charles Stein presents them alongside introductions and interpretive commentary, revealing their hidden gems of insight, suggesting directions for practice, and progressively weaving the texts together historically, poetically, hermeneutically, and magically. The book includes translations of Hesiod's Theogony, the Homeric Hymn to Hermes, the “Poem of Parmenides,” the Poimandres from the Corpus Hermeticum, the Chaldean Oracles, “The Vision of Isis” from Apuleius's Metamorphoses, and “On Divine Virtue” by Zosimos of Panopolis. Through his introductions and commentaries, Stein explains how the many traditions that use Hermes's name harbor a coherent spirit whose relevance and efficacy promise to carry Hermes forward into the future. Revealing Hermes as the very principle of Mind in all its possibilities, from intellectual brilliance to the workings of the cognitive life of everyone, the author shows how these seven texts are central to a still-evolving Western tradition in which the principle of spiritual awakening is allied with the creative. Never before published together, these texts present a new vehicle for transmission of the Hermetic Genius in modern times.

Linked to both the Greek god Hermes and the Egyptian god Thoth, Hermes Trismegistus is credited, through legend, with thousands of mystical and philosophical writings of high standing, each reputed to be of immense antiquity. During the Renaissance, a collection of such writings known as the Corpus Hermeticum greatly inspired the thought of philosophers, alchemists, artists, poets, and even theologians. Offering new translations of seven essential Hermetic texts from their earliest source languages, Charles Stein presents them alongside introductions and interpretive commentary, revealing their hidden gems of insight, suggesting directions for practice, and progressively weaving the texts together historically, poetically, hermeneutically, and magically. The book includes translations of Hesiod's Theogony, the Homeric Hymn to Hermes, the “Poem of Parmenides,” the Poimandres from the Corpus Hermeticum, the Chaldean Oracles, “The Vision of Isis” from Apuleius's Metamorphoses, and “On Divine Virtue” by Zosimos of Panopolis. Through his introductions and commentaries, Stein explains how the many traditions that use Hermes's name harbor a coherent spirit whose relevance and efficacy promise to carry Hermes forward into the future. Revealing Hermes as the very principle of Mind in all its possibilities, from intellectual brilliance to the workings of the cognitive life of everyone, the author shows how these seven texts are central to a still-evolving Western tradition in which the principle of spiritual awakening is allied with the creative. Never before published together, these texts present a new vehicle for transmission of the Hermetic Genius in modern times.

Linked to both the Greek god Hermes and the Egyptian god Thoth, Hermes Trismegistus is credited, through legend, with thousands of mystical and philosophical writings of high standing, each reputed to be of immense antiquity. During the Renaissance, a collection of such writings known as the Corpus Hermeticum greatly inspired the thought of philosophers, alchemists, artists, poets, and even theologians.Offering new translations of seven essential Hermetic texts from their earliest source languages, Charles Stein presents them alongside introductions and interpretive commentary, revealing their hidden gems of insight, suggesting directions for practice, and progressively weaving the texts together historically, poetically, hermeneutically, and magically. The book includes translations of Hesiod's Theogony, the Homeric Hymn to Hermes, the “Poem of Parmenides,” the Poimandres from the Corpus Hermeticum, the Chaldean Oracles, “The Vision of Isis” from Apuleius's Metamorphoses, and “On Divine Virtue” by Zosimos of Panopolis.Through his introductions and commentaries, Stein explains how the many traditions that use Hermes's name harbor a coherent spirit whose relevance and efficacy promise to carry Hermes forward into the future.Revealing Hermes as the very principle of Mind in all its possibilities, from intellectual brilliance to the workings of the cognitive life of everyone, the author shows how these seven texts are central to a still-evolving Western tradition in which the principle of spiritual awakening is allied with the creative. Never before published together, these texts present a new vehicle for transmission of the Hermetic Genius in modern times.

G'day mates! Today Max is going to warn us all about the dangers of leaving our faces unattended after we die, and Janey is going to describe the perfect blended family dynamic. Enjoy!Janey's Sources - The One-Handed GirlThe Lilac Fairy Book by Andrew Lang  Full story on Youtube  Wikipedia entry  Max's Sources - The Story of Thelyphron, the Student"The World's Great Folktales: A Collection of 172 of the Best Stories from World Folklore," arranged and edited by James R. Foster Originally from "The Metamorphoses of Apuleius," full free text here  Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

Listener comments end at: 38:00 The Claw of the Conciliator Chapter 30 "The Badger Again" Severian and Dorcas and Jolenta arrive at the Stone Town and encounter two witches, but, gee, it really looked like there was someone else with them. 'No' you say, Merryn? Well, okay. Oh! Wait now you've changed your story...! For Patrons, check out the special super-duper version with secret high-quality bonus content starting at 2:34:30 where we talk about Wolfe's uncollected story "The Hour of the Sheep"   Links: * Facebook - Chapter 30 "The Badger Again" - Chapter 29 "The Herdsman" - Nathan Hester on Mate' and pewter straws - Greg Fabic on Triskele -  Rod McDow on Apuleius and 'The Golden Ass' -  * Reddit - Chapter 30 "The Badger Again" - Chapter 29 "The Herdsman" - This episode is sponsored by Stone BnB! - You can become a patron and hear additional episodes at https://www.patreon.com/rereadingwolfe - You can get episodes on your podcast app or on our Youtube channel. Note: Youtube subscribers in some locales might not be able to access all the episodes. However, you can get every episodes at the website and on your favorite podcast app.  If you have problems accessing the podcast on your favorite platform, let us know. - Questions, comments, corrections, additions, alternate theories? Connect with us on on Facebook ...or on Twitter @rereadingwolfe ...or on Instagram: rereadingwolfepodcast ...or on Reddit: rereadingwolfepodcast  * Intro from The Alligator, Annihilation soundtrack by Ben Salisbury and Geoff Barrow * Break Music from Symphony #2 - I by Arvo Pärt, performed by NFM Wroclaw Philharmonic * Outro from "Stone Town" by John Millard and Happy Day * Logo art by SonOfWitz  Outros and alternate outros are cued on the Rereading Wolfe Podcast Spotify playlist IF the songs are available on Spotify.

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Erik Johan Stagnelius dog 29 år gammal och i kroppsligt förfall. Men i fantasin kunde han bryta de bojor materien fjättrat honom med. Anders Olsson reflekterar över hur det gick till. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det finns i den moderna litteraturen två beprövade sätt att omvandla begäret till skrift, antingen svälta ut det eller övertrumfa det. Antingen askesens eller övermåttets väg. För vår tids svältkonstnärer, en Kafka, en Simone Weil eller en Joyce Carol Oates är den förra vägen given. Fångenskapen i köttet omvandlas i skriftens frihet. Men om Stagnelius förblir kärlekens stora sångare i vår litteratur beror det mycket på att han fortfarande kan tänka sig en väg från det jordiska till det himmelska. Metafysiken är inte död. Tilltalet till hans musa Amanda överskrider gränsen.När Stagnelius vänder sig till högre makter får han genomgående också gensvar, som ger kraft att svinga sig upp från gruset till den åtrådda ”kärleksoceanen”. I den svenska poesins kanske mest magnifikt uppbyggda dikt ”Vän! i förödelsens stund” ligger motsatserna tätt, tätt intill varandra. Med en vänlig ängels hjälp övergår fallet i jubel, och poeten kan med ”det heliga Ordet” åter resa en störtad värld. Natten blir dagens mor, kaos blir granne med Gud. Friheten hos Stagnelius är alltså bestämd av sin motsats, gruset här nere ställs mot det saliga Pleroma där ovan. Ordet bär en laddning av mystikens tradition och den religiösa inriktning som kallas gnosticism och som präglade Stagnelius djupt. För gnostikerna var Pleroma den ljusvärld som vi en gång kom från och som vi till sist skall återvända till. Och jordelivet, omvänt, underkastat en ondskefull despot, vid namn Demiurgen.Bilden av människan som träl finns redan i den tidiga ”Ond och besvärlig är tiden” från 1815, där skalden beklagar sig över att inte kunna bli det han helst vill vara, frihetens lovsångare. Hans svaga hälsa gör att han anses olämplig som soldat, när det rustades för krig mot Norge. Därmed förlorar han i egna ögon sin legitimitet att hylla den politiska makten. Men detta nederlag skulle han omvandla till en poetisk seger, för det är först när han överger denna möjlighet som han gör dikten till frihetens verktyg i en helt annan och långt produktivare mening. Den tungsinta livskänslan kommer på ett förbluffande sätt att kontrastera mot den lätthet med vilken han skriver sina verser.Men eftersom fångenskapen är rotad i det mänskliga begäret kan den inte på något enkelt sätt besegras. Denna konstans gör varje dikt till en rörelse mot frihet. I den stora dikten ”Livets villkor” sluter sig rummet ödesmättat kring jaget: ”Vart skall jag fly? Mitt fångvalv är azuren / Det famnar mig, hur fjärran än jag går, / Och djupt i ödets koppartavlor skuren /Min dom evärdligt för mitt öga står”. Men dikten vilar aldrig i dessa förtvivlade lägen, den fortsätter och rör sig otåligt vidare. Och förvandlingen sker ofta plötsligt och med brutal kraft, som i ”Vän! i förödelsens stund”, där ordet blir ett magiskt spö som får fångdörren att öppna sig. Vad är det som håller oss fångna i Stagnelius värld? Ett svar ger den dikt som säger att det är kärleken till kvinnan som kastat honom i ”i kedjor”. Han skriver där: ”Jag älskar dem alla / Alla i féiska band snärja min fladdrande själ”. I epitetet ”fladdrande” känner vi igen själens fjärilsnatur. Det som tragiskt binder människan vid jordelivet är ett gränslöst begär som aldrig kan få nog. Så har Stagnelius också formulerat det i filosofiska fragment: begäret är större än njutningen, och ur den skillnaden föds längtan efter ett annat rike. Så alstras övermåttet. Här har det mänskliga förnuftet ingen styrande roll. Jaget är berett att kasta sig i den tillbeddas famn, medveten om riskerna. ”O! jag älskar så högt att bedras av den flyende villan / Och i min känslas rus endast Gudinnor jag ser”. Det är denna ambivalens som visar hur fäst Stagnelius är vid det som han vill befria sig från. Hur ska han kunna bli fri när det är just kärleken som föder hans frihetsdröm som binder honom? Eller finns det en annan kärlek än den som förslavar? Som många romantiker tänker sig Stagnelius att slaveriet vilar på en glömska om forntidens lycka som måste avtäckas för att frihet skall uppnås. Denna idé om återfödelse finner han i den esoteriska tradition som hans tid återupptäckte, allt från alkemi, astrologi till gnostisk spekulation. Där spelar förmedlaren en avgörande roll, någon som kan visa vägen genom fångvalvets port. Det kan hos Stagnelius vara änglar, mytiska väsen eller de naturens röster som genomtränger hela skapelsen med sitt frihetsbudskap.Men för gestaltningen av kärleken fäster jag mig särskilt vid fjärilen, en klassisk symbol för förvandling som vi mötte tidigare i diktarens ord om sin ”fladdrande själ”. I den grekiska kulturen personifierade Psyche den mänskliga själen och avbildades ofta i bildkonsten som en fjäril. Stagnelius måste ha känt till den romerske författaren Apuleius roman Den gyllene åsnan som berättar sagan om Amor och Psyche. Där skildras den sköna Psyche som utmanar gudavärlden, särskilt den avundsjuka kärleksgudinnan Venus, genom att bli föremål för människornas kult. Psyche har till råga på allt lockat till sig Venus son, den bevingade Amor, som förfört henne men samtidigt förbjudit henne att se sin älskade. Men en natt tänder Psyche oljelampan och får då se den underbart vackra guden sovande vid sin sida. Straffet för hennes nyfikenhet blir att hon inte får träffa Amor igen. Sagan berättar om hennes irrande prövningar, men också om hur hon räddas av den hemliga kärlek, som Amor fortfarande hyser för henne. Hos Stagnelius återkommer denna saga i renodlad form: där finns kärlekens allmakt, den uppslitande separationen mellan de älskande och den gudomliga återföreningen. Psyche är en bild för själen, men hos honom är hon också en av Demiurgens slavar och återföreningen kan först ske i Pleroma, gudariket ovan himlavalvet. När sagan återberättas i ”Icke av tid och rum de levande” löses fjättrarna: ”Psyche, ur bojorna löst, / Sökte och fann sitt hjärtas idol, den himmelska Amor”.Kärleken binder, kärleken befriar. Kanske kommer vi aldrig ur den motsägelsen. Men själva anropet är kvar i dikten som en smärtsam vädjan som vi inte kan värja oss mot: ”Skall Psyche då aldrig / Med Amor försonas?”, står det. Och till sist: ”Ack! brister ej världsäggets / Högblåa skal?”Kan vi komma längre i våra drömmar?Anders Olssonförfattare, litteraturvetare och ledamot av Svenska Akademien

This episode is the second half of the epic tale of Psyche & Eros from the 2nd Century AD, moving forward from episode #38.  Psyche, devastated at the loss of her husband Eros, throws herself in the river. The river doesn't accept her sacrifice and washes her up to the shore where she sees the great god Pan playing around with his pipes. From this encounter she is emboldened and ready to take on her journey, the journey we all have to embark upon, the return to Eros. Along the way we meet the Goddesses Demeter and Hera and their temples on hills and in forests. Until finally Psyche confronts Venus (Aphrodite) and accepts her four tasks - the tasks of the soul.Artwork for this episode is from Edward Burne-Jones.Music by Marlia Coeur on Spotify.Please consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Today's episode explores the story of Psyche & Eros, from the 2nd century AD by Apuleius in his novel, The Golden Ass. Part fairytale, part myth, it presents as a dream and allows us to dive deep into its imagery, symbols and motifs. In it you'll hear strands of Beauty & the Beast, Cinderella, Snow White amongst other ancient tales that were eventually recorded by the Brothers Grimm. To get us primed we begin with the poem by John Keats, Ode to Psyche, where he expresses his devotion to the newest of the Olympian Goddesses who was never really given her full due. This is Part One of a two part podcast - the story being simply too long and rich to fit within the confines of one single episode.Artwork: Eros and Psyche, Guiseppe Cammarano, 1821Further Reading:Erich Neumann: Amor and PsycheMary Louise von Franz: The Golden Ass of ApuleiusRobert A. Johnson: SheMusic by Marlia Coeur on Spotify.Please consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Hayao Miyazaki's Spirited Away is one of those rare films that is both super popular and super weird. Rife with cinematic non sequiturs, unforgettable imagery, and moments of horror, it is an outstanding example of a story form that goes all the way back to the myth of Psyche and Eros from Apuleius's Golden Ass, if not earlier. In this type of story, a girl on the cusp of maturity steps into a magical realm where people and things from waking life reappear, draped in the gossamer of dream and nightmare. Musicologist and WS assistant Meredith Michael joins JF and Phil to discuss a strange jewel of Japanese animated cinema. Support us on Patreon (https://www.patreon.com/weirdstudies) and get early access to Phil Ford's new podcast series on Wagner's Ring Cycle. Sign up for JF's upcoming online course (https://www.nuralearning.com/weird-macbeth) on Shakespeare's Macbeth on Nura Learning. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) REFERENCES Hayao Miyazaki, Spirited Away (https://www.imdb.com/title/tt0245429/) Kyle Gann, Robert Ashley (https://bookshop.org/a/18799/9780252078873) Robert Ashely, [Perfect Lives](https://ubu.com/film/ashleyperfect.html)_ Apuleius, “Psyche and Eros” from The Golden Ass (https://bookshop.org/a/18799/9780199540556) Henri Bergson, Time and Free Will (https://bookshop.org/a/18799/9780486417677) Kentucky Route Zero (http://kentuckyroutezero.com/), video game Legend of Zelda Breath of the Wild (https://www.zelda.com/breath-of-the-wild/), video game Jean Sibelius, 5th Symphony (https://www.youtube.com/watch?v=EcjvvBbZhn4&ab_channel=hr-Sinfonieorchester%E2%80%93FrankfurtRadioSymphony) Quentin Tarantino (https://www.imdb.com/name/nm0000233/), film maker Mark Rothko (https://en.wikipedia.org/wiki/Mark_Rothko), American painter Giles Deleuze, “What is the Creative Act?” (https://www.kit.ntnu.no/sites/www.kit.ntnu.no/files/what_is_the_creative_act.pdf) GK Chesterton, Orthdoxy (https://bookshop.org/a/18799/9781952410482) Herman Hesse, Siddhartha (https://bookshop.org/a/18799/9780553208849) Andrew Osmond, BFI Guide to Spirited Away (https://bookshop.org/a/18799/9781838719524) Special Guest: Meredith Michael.

Apuleius' Märchen von einem berühmten Liebespaar gibt es pünktlich zum Valentinstag ! Amor, bzw. Eros und Psyche müssen sich der neidischen Aphrodite stellen und es gelingt ihnen mit etwas göttlicher Hilfe... Mit: Aphrodite(Venus), Eros (Cupido, Amor), Psyche, ihre Familie, Zeus(Jupiter), Hades (Pluto), Persephone (Proserpina), Hera (Juno), Demeter (Ceres), Hermes (Merkur), Hephaistos (Vulcanus), Apollon (Apollo), Styx, Orakel, Nereus, Nereiden, Amphitrite, Poseidon(Neptun), die Tritonen, Zephir, Pan, Grazien, Horen, Musen, Charon, Cerberos (Cerberus), Taenaros, Sparta, Dionysos (Bacchus), Ganymed. www.chaoskinderpodcast.wordpress.com chaoskinderkontakt@gmail.com Instagram: @chaos.kinder Spende über PAYPAL: https://www.paypal.com/donate/?hosted_button_id=VB2QKC88H9NYJ#

ตลอดปี 2022 ซื้อหนังสือเพิ่มทั้งหมด 67 เล่ม และอ่านจบไป 37 เล่ม โดยจำนวนนี้ (ไม่รวมที่อ่านหนังสือที่ซื้อมาในปีก่อน ๆ) อ่านไปทั้งหมด 54% (11,746 หน้า จากทั้งหมด 21,858 หน้า) จากที่เคยตั้งปณิธานไว้ว่าจะต้องอ่านหนังสือจากนักเขียนหลากหลายประเทศมากขึ้น ปีนี้ก็สามารถเพิ่มความหลากหลายของนักเขียนได้อีก 6 ประเทศ ดังนี้   1. อัลจีเรีย Apuleius, The golden ass 2. บราซิล Paulo Coelho, The Alchemist 3. เลบานอน Saifedean Ammous, The Bitcoin standard และ Kahlil Gibran, The Garden of the Prophet 4. ตุรเคีย Orhan Pamuk, My name is Red 5. แทนซาเนีย Abdulrazak Gurnah, Paradise 6. ฟิลิปปินส์ Maria Ressa, How to stand up to a dictator   FAQmich คือโครงการสำหรับปี 2022 ฉลองการย้ายกลับมาเยอรมนี เพื่อศึกษาต่อระดับปริญญาเอก หากท่านใดมีคำถามอะไรที่สงสัย อยากถาม อยากรู้ ก็ให้ส่งข้อความเข้ามาตามช่องทางด้านล่างได้เลยค่ะ ไม่ใช่ช่องที่มีสาระอัดแน่นอะไร ออกจะเป็นการบ่นพูดคุย เม้ามอยส์ เรื่องราวต่าง ๆ ในชีวิตซะมากกว่า #FAQmich YouTube Facebook Blog คำเตือน: ประสบการณ์ส่วนบุคคล โปรดใช้วิจารณญาณในการรับชม กลั่นกรองก่อนเชื่อนะคะ  

We speak about illusion, magic, and reality with magical experience designer Ferdinando Buscema. He can make stuff disappear, find your card anywhere in the deck, and read your mind. He is, in short, a magician. But he is also, like Apuleius, Iamblichus, Ficino, and Crowley before him, a philosopher of magic.

In July of 1997, conductor Kurt Masur and actress Marthe Keller delivered a performance of César Franck's Psyché unlike any other in recorded history. Expanding upon Masur's vision, the sublime and rarely-heard symphonic poem for chorus and orchestra was augmented by Keller's immersive narration. Her words, delivered between movements with powerful eloquence, are sourced directly from Metamorphoses by the ancient writer Apuleius, which tells the captivating story of Psyché and Cupid. It was this tale, filled with eroticism, alchemy, and scandal, that inspired Franck's soaring composition.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Sul portal quest fantasy, rimando a Farah Mendlesohn, Rhetorics of Fantasy. Su Lewis e il confronto con le Metamorfosi di Apuleio, l'articolo di riferimento è Jeffrey T. Winkle "C.S. Lewis The Voyager of the "Dawn" Treader" and Apuleius' Metamorphoses" in Rogers-Stevens Classical Traditions in Modern Fantasy

“I have always thought of a myth as something that never was but is always happening.”-- Jean Houston, The Possible HumanEros and Psyche, or Cupid and Psyche to the Romans, a marvelous old myth about love, soul, and what's required to unite the two. Apuleius included this story in The Golden Ass (also called The Metamorphoses) from the late 2nd century AD, drawing on ancient Greek sources.I've worked with this story many times. I often feel that I am living some part Psyche's journey, or turning to a moment in the tale that presents the perfect metaphor for the task at hand. Sorting seeds. Sending up a prayer in the form of tears. Lighting a lamp to dispel an inner darkness. Lately, I'm hungry for the active relaxation in the space of story and the insights that arise without effort. Perhaps you are too. Hope you find something wonderful and mysterious in this story. I'll  unpack some of the themes and reflect on this myth in the next episode. Thanks for listening.Support the show

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Lexman was talking about the interview he did with Rick Doblin. He mentioned that Doblin is a great guest and has a lot of knowledge about psychedelics. Doblin talked about his experiences with psychedelics, and how they have changed his life for the better.

In the six volumes of the Library of the World's Best Mystery and Detective Stories, Julian Hawthorne presents us thrilling and mysterious short stories from all corners of the world. The GSMC Audiobook Series presents some of the greatest classic novels, audiobooks, and theatrical presentations from a bygone era. Let Golden State Media Concepts take you on a ride through classic audiobooks read by some of the top audiobook performers of all time. This compiled collection of classic audiobooks contains a wide variety of classic Novels. ***PLEASE NOTE*** GSMC Podcast Network presents these shows and audiobooks as historical content and have brought them to you unedited. Remember that times have changed, and some Audiobooks might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate, and give you a glimpse into the past.

What if the Roman Empire had experienced an Industrial Revolution? That's the compelling hook of Helen Dale's two-part novel, Kingdom of the Wicked: Rules and Order. Drawing on economics and legal history, Helen's story follows the arrest and trial of charismatic holy man Yeshua Ben Yusuf in the first century — but one with television, flying machines, cars, and genetic modification.In this episode of Faster, Please! — The Podcast, I dive into the fascinating world-building of Kingdom of the Wicked with Helen. Below is an edited transcript of our conversation.James Pethokoukis: Your Kingdom of the Wicked books raise such an interesting question: What would have happened if Jesus had emerged in a Roman Empire that had gone through an industrial revolution? What led you to ask this question and to pursue that answer through these books?Helen Dale: There is an essay in the back of book one, which is basically a set of notes about what I brought to the book when I was thinking. And that has been published elsewhere by the Cato Institute. I go into these questions. But the main one, the one that really occurred to me, was that I thought, what would happen if Jesus emerged in a modern society now, rather than the historic society he emerged in? I didn't think it would turn into something hippy-dippy like Jesus of Montreal. I thought it would turn into Waco or to the Peoples Temple.And that wasn't necessarily a function of the leader of the group being a bad person. Clearly Jim Jones was a very bad person, but the Waco story is actually much more complex and much messier and involves a militarized police force and tanks attacking the buildings and all of this kind of thing. But whatever happened with it, it was going to go badly and it was going to end in violence and there would be a showdown and a confrontation. And it would also take on, I thought — I didn't say this in the essay, but I thought at the time — it would take on a very American cast, because that is the way new religious movements tend to blow up or collapse in the United States.And so I was thinking this idea, through my head, “I would like to do a retelling of the Jesus story, but how do I do it? So it doesn't become naff and doesn't work?” And so what I decided to do was rather than bring Jesus forward and put him now, I would put us back to the time of Jesus — but take our technology and our knowledge, but always mediated by the fact that Roman civilization was different from modern civilization. Not in the sense of, you know, human beings have changed, all that kind of thing. We're all still the same primates that we have been for a couple of hundred thousand years or even longer. But in the sense that their underlying moral values and beliefs about the way the world should work were different, which I thought would have technological effects. The big technological effect in Kingdom of the Wicked is they're much better at the biosciences and the animal sciences. They're much weaker at communications. Our society has put all its effort into [communication]. Their society is much more likely to put it into medicine.To give you an idea: the use of opioids to relieve the pain of childbirth is Roman. And it was rediscovered by James Young Simpson at The University of Edinburgh. And he very famously used the formula of one of the Roman medical writers. So I made a very deliberate decision: This is a society that has not pursued technological advancement in the same way as us. It's also why their motor vehicles look like the Soviet-era ones with rotary engines. It's why their big aircraft are kind of like Antonovs, the big Ukrainian aircraft that we've all been reading about since the war has started in Ukraine. So, in some respects, there are bits of their culture that look more Soviet, or at least Britain in the 1950s. You know, sort of Clement Attlee's quite centralized, postwar settlement: health service, public good, kind of Soviet-style. Soft Soviet; it's not the nasty Stalinist sort, but like late-Soviet, so kind of Brezhnev and the last part of Khrushchev. A few people did say that. They were like, “Your military parades, they look like the Soviet Union.” Yes. That was deliberate. The effort has gone to medicine.It's an amazing bit of world-building. I was sort of astonished by the depth and the scale of it. Is this a genre that you had an interest in previously? Are there other works that you took inspiration from?There's a particular writer of speculative fiction I admire greatly. His name is S.M. Stirling, and he wrote a series of books. I haven't read every book he wrote, but he wrote a series of books called the Draka series. And it's speculative fiction. Once again, based on a point of departure where the colonists who finished up in South Africa finished up using the resources of South Africa, but for a range of reasons he sets out very carefully in his books, they avoid the resource curse, the classic economist's resource curse. And so certainly in terms of a popular writer, he was the one that I read and thought, “If I can do this as well as him, I will be very pleased.”I probably didn't read as much science fiction as most people would in high school, unless it was a literary author like Margaret Atwood or George Orwell. I just find bad writing rebarbative, and a lot of science fiction struggles with bad writing. So this is the problem, of course, that Douglas Adams famously identified. And one of the reasons why he wrote the Hitchhiker's books was to show that you could combine science fiction with good writing.In all good works of speculative fiction of the alt-history variant, there's an interesting jumping-off point. I would imagine you had a real “Eureka!” moment when you figured out what your jumping-off point would be to make this all plausible. Tell me about that.Well, yes. I did. Once I realized that points of departure hugely mattered, I then went and read people like Philip K. Dick's Man in the High Castle. The point of departure for him is the assassination of Roosevelt. I went and read SS-GB [by] Len Deighton, a great British spycraft writer but also a writer of speculative fiction. And in that case, Britain loses the Battle of Britain and Operation Sea Lion, the putative land invasion of the UK, is successful. And I really started to think about this and I'm going, "Okay, how are you going to do this point of departure? And how are you going to deal with certain economic issues?"I'm not an economist, but I used to practice in corporate finance so I've got the sort of numerical appreciation for economics. I can read an economics paper that's very math heavy because that's my skill based on working in corporate finance. And I knew, from corporate finance and from corporate law, that there are certain things that you just can't do, you can't achieve in terms of economic progress, unless you abolish slavery, basically. Very, very basic stuff like human labor power never loses its comparative advantage if you have just a market flooded with slaves. So you can have lots of good science technology, and an excellent legal system like the Romans did. And they reached that point economists talk about of takeoff, and it just never happens. Just, they miss. It doesn't quite happen.And in a number of civilizations, this has happened. It's happened with the Song dynasty in China. Steve Davies has written a lot about the Song dynasty, and they went through the same thing. They just get to that takeoff point and then just … fizzled out. And in China, it was to do with serfdom, basically. These are things that are very destructive to economic progress. So you have to come up with a society that decides that slavery is really shitty. And the only way to do that is for them to get hooked on the idea of using a substitute for human labor power. And that means I have to push technological innovation back to the middle republic.So what I've done for my point of departure is at the Siege of Syracuse [in 213-212 B.C.]. I have Archimedes surviving instead of being killed. He was actually doing mathematical doodles outside his classroom, according to the various records of Roman writers, and he was killed by some rampaging Roman soldier. And basically Marcellus, the general, had been told to capture Archimedes and all his students and all their kids. So you can see Operation Paperclip in the Roman mind. You can see the thinking: “Oh no, we want this fellow to be our DARPA guy.” That's just a brilliant leap. I love that.And that is the beginning of the point of departure. So you have the Romans hauling all these clever Greek scientists and their families off and taking them to Rome and basically doing a Roman version of DARPA. You know, Operation Paperclip, DARPA. You know, “Do all the science, and have complete freedom to do all the…” — because the Romans would've let them do it. I mean, this is the thing. The Romans are your classic “cashed up bogans,” as Australians call it. They had lots of money. They were willing to throw money at things like this and then really run with it.You really needed both. As you write at one point, you needed to create a kind of a “machine culture.” You sort of needed the science and innovation, but also the getting rid of slavery part of it. They really both work hand in hand.Yes. These two have to go together. I got commissioned to write a few articles in the British press, where I didn't get to mention the name of Kingdom of the Wicked or any of my novels or research for this, but where people were trying to argue that the British Empire made an enormous amount of money out of slavery. And then, as a subsidiary argument, trying to argue that that led to industrialization in the UK. … [So] I wrote a number of articles in the press just like going through why this was actually impossible. And I didn't use any fancy economic terminology or anything like that. There's just no point in it. But just explaining that, “No, no, no. This doesn't work like that. You might get individually wealthy people, like Crassus, who made a lot of his money from slavery.” (Although he also made a lot from insurance because he set up private fire brigades. That was one of the things that Crassus did: insurance premiums, because that's a Roman law invention, the concept of insurance.) And you get one of the Islamic leaders in Mali, King Musa. Same thing, slaves. And people try to argue that the entirety of their country's wealth depended on slavery. But what you get is you get individually very wealthy people, but you don't get any propagation of the wealth through the wider society, which is what industrialization produced in Britain and the Netherlands and then in Germany and then in America and elsewhere.So, yes, I had to work in the machine culture with the abolition of slavery. And the machines had to come first. If I did the abolition of slavery first, there was nothing there to feed it. One of the things that helped Britain was Somerset's case (and in Scotland, Knight and Wedderburn) saying, “The air of the air of England is too pure for a slave to breathe.” You know, that kind of thinking. But that was what I realized: It was the slavery issue. I couldn't solve the slavery issue unless I took the technological development back earlier than the period when the Roman Republic was flooded with slaves.The George Mason University economist Mark Koyama said if you had taken Adam Smith and brought him back to Rome, a lot of it would've seemed very recognizable, like a commercial, trading society. So I would assume that element was also pretty important in that world-building. You had something to work with there.Yes. I'd read some Stoic stuff because I did a classics degree, so of course that means you have to be able to read in Latin. But I'd never really taken that much of an interest in it. My interest tended to be in the literature: Virgil and Apuleius and the people who wrote novels. And then the interest in law, I always had an advantage, particularly as a Scots lawyer because Scotland is a mixed system, that I could read all the Roman sources that they were drawing on in the original. It made me a better practitioner. But my first introduction to thinking seriously about stoicism and how it relates to commerce and thinking that commerce can actually be a good and honorable thing to do is actually in Adam Smith. Not in The Wealth of Nations, but in Moral Sentiments, where Adam Smith actually goes through and quotes a lot of the Roman Stoic writers — Musonius Rufus and Epictetus and people like that — where they talk about how it's possible to have something that's quite base, which is being greedy and wanting to have a lot of money, but realizing that in order to get your lot of money or to do really well for yourself, you actually have to be quite a decent person and not a s**t.And there were certain things that the Romans had applied this thinking to, like the samian with that beautiful red ceramic that you see, and it's uniform all through the Roman Empire because they were manufacturing it on a factory basis. And when you come across the factories, they look like these long, narrow buildings with high, well-lit windows. And you're just sort of sitting there going, “My goodness, somebody dumped Manchester in Italy.” This kind of thing. And so my introduction to that kind of Stoic thinking was actually via Adam Smith. And then I went back and read the material in the original and realized where Adam Smith was getting those arguments from. And that's when I thought, “Ah, right. Okay, now I've got my abolitionists.”This is, in large part, a book about law. So you had to create a believable legal system that did not exist, unlike, perhaps, the commercial nature of Rome. So how did you begin to work this from the ground up?All the substantive law used in the book is Roman, written by actual Roman jurists. But to be fair, this is not hard to do. This is a proper legal system. There are only two great law-giving civilizations in human history. The Romans were one of them; the English were the other. And so what I had to do was take substantive Roman law, use my knowledge of practicing in a mixed system that did resemble the ancient Roman system — so I used Scotland, where I'd lived and worked — and then [put] elements back into it that existed in antiquity that still exists in, say, France but are very foreign, particularly to common lawyers.I had lawyer friends who read both novels because obviously it appeals. “You have a courtroom drama?” A courtroom drama appeals to lawyers. These are the kind of books, particularly if it's written by another lawyer. So you do things like get the laws of evidence right and stuff like that. I know there are lawyers who cannot watch The Wire, for example, because it gets the laws of evidence (in the US, in this case) wrong. And they just finish up throwing shoes at the television because they get really annoyed about getting it wrong.What I did was I took great care to get the laws of evidence right, and to make sure that I didn't use common law rules of evidence. For example, the Romans didn't have a rule against hearsay. So you'll notice that there's all this hearsay in the trial. But you'll also notice a mechanism. Pilate's very good at sorting out what's just gossip and what is likely to have substantive truth to it. So that's a classic borrowing from Roman law, because they didn't have the rule against hearsay. That's a common law rule. I also use corroboration a lot. Corroboration is very important in Roman law, and it's also very important in Scots law. And it's basically a two-witness rule.And I did things, once again, to show the sort of cultural differences between the two great legal systems. Cornelius, the Roman equivalent of the principal crown prosecutor. Cornelius is that character, and he's obsessed with getting a confession. Obsessed. And that is deeply Roman. The Roman lawyers going back to antiquity called a confession the “Queen of Proofs.” And of course, if confessions are just the most wonderful thing, then it's just so tempting to beat the snot out of the accused and get your bloody confession. Job done. The topic of the Industrial Revolution has been a frequent one in my writings and podcasts. And one big difference between our Industrial Revolution and the one you posit in the book is that there was a lot of competition in Europe. You had a lot of countries, and there was an incentive to permit disruptive innovation — where in the past, the proponents of the status quo had the advantage. But at some point countries realized, “Oh, both for commerce and military reasons, we need to become more technologically advanced. So we're going to allow inventors and entrepreneurs to come up with new ideas, even if it does alter that status quo.” But that's not the case with Rome. It was a powerful empire that I don't think really had any competitors, both in the real world and in your book.That and the chattel slavery is probably why it didn't finish up having an industrial revolution. And it's one of the reasons why I had to locate the innovation, it had to be in the military first, because the military was so intensely respected in Roman society. If you'd have got the Roman military leadership coming up with, say, gunpowder or explosives or that kind of thing, the response from everybody else would've been, “Good. We win. This is a good thing.” It had to come from the military, which is why you get that slightly Soviet look to it. There is a reason for that. The society is more prosperous because it's a free-market society. The Romans were a free-market society. All their laws were all sort of trade oriented, like English law. So that's one of those things where the two societies were just really similar. But in terms of technological innovation, I had to locate it in the army. It had to be the armed forces first.In your world, are there entrepreneurs? What does the business world look like?Well, I do try to show you people who are very commercially minded and very economically oriented. You've got the character of Pilate, the real historical figure, who is a traditional Tory lawyer, who has come up through all the traditional Toryism and his family's on the land and so on and so forth. So he's a Tory. But Linnaeus, who he went to law school with, who is the defense counsel for the Jesus character, Yeshua Ben Yusuf, is a Whig. And his mother was a freed slave, and his family are in business in commerce. They haven't bought the land.A lot of these books finished up on the cutting room floor, the world-building. And there is a piece that was published in a book called Shapers of Worlds: Volume II, which is a science-fiction anthology edited by a Canadian science-fiction author called Ed Willett. And one of the pieces that finished up on the cutting room floor and went into Shapers of Worlds is a description of Linnaeus's family background, which unfortunately was removed. You get Pilate's, but you don't get Linnaeus's. And Linnaeus's family background, his dad's the factory owner. The factory making cloth. I was annoyed with my publisher when they said, “This piece has to go,” and I did one of those snotty, foot-stamping, awful things. And so I was delighted when this Canadian publisher came to me and said, “Oh, can we have a piece of your writing for a science-fiction anthology?” And I thought, “Oh good. I get to publish the Linnaeus's dad story in Shapers of Worlds.”And I actually based Linnaeus's dad — the angel as he's referred to, Angelus, in the Kingdom of the Wicked books, and his personality is brought out very strongly — I actually based him on John Rylands. Manchester's John Rylands, the man who gave his name to the Rylands Library in Manchester. He was meant to be the portrait of the entrepreneurial, Manchester industrialist. And to this day, authors always have regrets, you don't always get to win the argument with your publisher or your editor, I am sorry that that background, that world-building was taken out of Kingdom of the Wicked and finished up having to be published elsewhere in an anthology. Because it provided that entrepreneurial story that you're talking about: the factory owner who is the self-made man, who endows libraries and technical schools, and trains apprentices, and has that sort of innovative quality that is described so beautifully in Matt Ridley's book, How Innovation Works, which is full of people like that. And this book as well, I've just bought: I've just bought Arts and Minds, which is about the Royal Society of Arts. So this is one of those authorial regrets: that the entrepreneur character wasn't properly fleshed out in the two published books, Kingdom of the Wicked book one and book two. And you have to get Shapers of Worlds if you want to find out about Linnaeus's industrialist dad.Is this a world you'd want to live in?Not for me, no. I mean, I'm a classically trained lawyer. So classics first, then law. And I made it a society that works. You know, I don't write dystopias. I have a great deal of admiration for Margaret Atwood and George Orwell, who are the two greatest writers of dystopias, in my view, in contemporary, and not just contemporary fiction, probably going back over a couple of hundred years. Those two have really got it, when it comes to this vision of horror. You know, the boot stamping on the human face forever. I greatly admire their skill, but those are not the books I write. So the society I wrote about in Kingdom of the Wicked is a society that works.But one of the things I deliberately did with the Yeshua Ben Yusuf character and what were his early Christian followers, and the reason I've taken so much time to flesh them out as real characters and believable people [is] because the values that Christianity has given to the West were often absent in the Roman world. They just didn't think that way. They thought about things differently. Now some of those Christian values were pretty horrible. It's fairly clear that the Romans were right about homosexuality and abortion, and the Christians were wrong. That kind of thing. That's where they were more liberal. But, you will have noticed, I don't turn the book into Gattaca. I try to keep this in the background because obviously someone else has written Gattaca. It's an excellent film. It's very thought provoking. I didn't want to do that again. It's kept in the background, but it is obvious — you don't even really need to read between the lines — that this is a society that engages in eugenics. You notice that all the Roman families have three children or two children, and there's always a mix of sexes. You never have all boys or all girls. You know what they're doing. They're doing sex-selective abortions, like upper-class Indians and Chinese people do now. You've now dealt with the problem of not enough girls among those posh people, but they still want a mixture of the two. You notice that the Romans have got irritatingly perfect teeth and their health is all very good. And people mock Cyler, one of the characters, because his teeth haven't been fixed. He's got what in Britain get called NHS teeth. He hasn't got straightened teeth, because he genuinely comes from a really, really poor background. I have put that in there deliberately to foil those values off each other, to try to show what a world would look like where there are certain values that will just never come to the fore.And as you mentioned, industry: how those values also might influence which areas technology might focus on, which I think is a great point.I did that quite deliberately. There is a scene in the first book in Kingdom of the Wicked where Linnaeus — who's the Whig, the nice Whig, the lovely Whig who believes in civil rights and justice and starts sounding awfully Martin Luther King-ish at various points, and that kind of thing; he's the most likable form of progressive, Stoic Roman ideas — and when he encounters a child that the parents have kept alive, a disabled child, which in his society would just be put down at birth like Peter Singer, they have Peter Singer laws, he's horrified. And he doesn't even know if it's human.I actually wrote a piece about this couple of years ago for Law & Liberty, for Liberty Fund. I did find that people wanted to live in this sort of society. And I just sort of thought, “Hmm, there are a lot more people out there who clearly agree with things like eugenics, Peter Singer laws, a society that has absolutely no welfare state. None.” There are people who clearly find that kind of society attractive. And also the authoritarianism, the Soviet-style veneration of the military. A lot of people clearly quite like that. And clearly like that it's a very orderly society where there are lots of rules and everybody knows where they stand. But even when the state is really, really very powerful.I deliberately put a scene in there, for example, where Pilate's expectorating about compulsory vaccinations — because he's a Roman and he thinks compulsory vaccinations save lives and he doesn't give a s**t about your bodily integrity. I did try to leave lots of Easter eggs, to use a gaming expression, in there to make it clear that this is a society that's a bit Gattaca-ish. I did that for a reason.I don't know if there's a sequel in mind, but do you think that this world eventually sort of Christianizes? And if this is what the world looks like 2000 years ago, what would that world look like today?I haven't thought of the answer to the first one. I must admit. I don't really know the answer to that. But in the second one, I did discuss this in quite a bit of detail with my then partner. And she said, “I honestly think that with that sort of aggressiveness and militarism, they will finish up conquering the planet. And then it'll start looking like a not-nice version of Star Trek. It won't be the Federation. It will be much more likely to be Khan and the Klingons and they'll start looking really, really Klingon basically.” That was her comment at the time.Like a more militaristic version of Star Trek.Yeah. But sort of very militarized and not the Prime Directive or any of that. Obviously Star Trek is very much an American conception of Americans in space. My Romans in space would look much more like the Centauri out of Babylon 5 or the Klingons in Star Trek. They would be much more aggressive and they'd be a lot more ambiguous…I don't know how much of a Star Trek fan you are, but of course there's the mirror universe, which kind of looks like that. We have the evil Kirk and the evil Spock. There's still advance, but there's like a Praetorian Guard for the captain and…All of that. Yes. I hadn't really thought about the first question, but the second question I thought, “Yeah, if this persists into the future, imagining a hypothetical future, then I think you are going to be dealing with people who are really, really quite scary.”Apparently you're not working on a sequel to this book, but what are you working on? Another book?Yes. I'm actually being pursued at the moment by a British publisher, who I won't drop into it because otherwise, if I say the name, then I will never, never be forgiven. And then they will insist on me writing a book. I'm never going to be the world's most super productive novelist. I think that I may finish up in my life writing maybe another two. I look at Stephen King. That man writes a door stopper of a book every time he sits down to have a hot meal. Incredible. How does he do it? I'm not that person.Helen, thank you so much for coming on the podcast.Thank you very much for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

Michael Hurst joins Chrissie to talk about The Golden Ass, a performance freely adapted from the notorious original by Apuleius. The Golden Ass is at Golden Bay's Playhouse Café on July 06

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Celebrate love this Valentine's Day with a retelling of Apuleius' “Cupid & Psyche” by Josephine Preston Peabody. When a princess rivals the goddess of beauty, Venus sends her son Cupid to punish her for her charms. But when Cupid's arrow strikes himself, he falls in love and protects her from the wrath of his mother in a royal home where she is treated like a goddess herself although never seeing this prophesied “creature” who is now her husband. When her sisters visit, in their jealousy they poison her mind against Cupid and she looks upon him while he sleeps, breaking the peace they had together and leaving her alone. Heartbroken, Psyche tries to find him and is set trials by Venus to gain the goddess' favor and her lost husband back again. How will a mortal maid fare against the goddess of love and beauty? If you've been enjoying our tales, give us a review on Apple Podcasts and follow along on Spotify or our various social accounts! To learn more about Widdershins, please visit: www.widdershinsstories.com Support us on Ko-Fi to help us keep the podcast running! www.ko-fi.com/widdershinsstories For more information on Ashley, please visit: www.oldgrowthalchemy.com www.patreon.com/oldgrowthalchemy For more information on Joe, please visit: www.joesabourin.com

Gay Catholic boys who win debates with Bible thumpers, Oregon LGBTIQA+. Lon Mabon, Measure #9 & 13, 1992. Also, in The Fallen Ones - we look at a loved director, and his seductive tales, swimming with gender issues... ______________ NOTES: Solicitors, Bible thumpers - proselytizers? Quotes to counter proselytizing: "Oracles that are false" Lamentations 2:14 "Lord has not sent them" Ezekiel 13:6 "Do not permit a woman to teach" Timothy 2:12 "False Apostles" Corinthians 11:13 _________ "'Cause every tool is a weapon - If you hold it right." Ani DiFranco - My IQ. Puddle Dive https://www.youtube.com/watch?v=ZrMM2GHRtGo _________ Who defines the word "psychic" ? APULEIUS, also called Lucius Apuleius Madaurensis. GREEK Author of METAMORPHESIS [diff. version than Ovid's]- "The GOLDEN ASS" - CUPID AND PSYCHE 120-170 A.D. / C. E. Biography of author APULEIUS, - "The most famous incident in his life was when he was accused of using magic to gain the attentions (and fortune) of a wealthy widow. He declaimed and then distributed a witty tour de force in his own defense before the proconsul and a court of magistrates convened in Sabratha, near ancient Tripoli, Libya. This is known as the Apologia." https://en.wikipedia.org/wiki/Apuleius https://en.wikipedia.org/wiki/The_Golden_Ass _________ Merriam Webster, definition of Psychic: " (Entry 1 of 2) 1 : of or relating to the PSYCHE: 2 : lying outside the sphere of physical science or knowledge : immaterial, moral, or spiritual in origin or force 3 : sensitive to nonphysical or supernatural forces and influences : marked by extraordinary or mysterious sensitivity, perception, or understanding psychic noun Definition of psychic (Entry 2 of 2) 1a : a person apparently sensitive to nonphysical forces" https://www.merriam-webster.com/dictionary/psychic _____ The Fallen Ones: A famous director, of mixed meaning. / Lorenza Newton, married 30 years to the director: https://www.imdb.com/name/nm2874031/ "Kim Morgan, with whom he's working on his next film, Nightmare Alley. Though he walked arm-in-arm with Morgan on the Academy Awards red carpet, del Toro clarified to Reforma that the two are just friends and that Morgan had nothing to do with his split from Newton." https://www.wmagazine.com/story/guillermo-del-toro-divorced-in-2017 ______ Kim Morgan, married to her second director: https://www.imdb.com/name/nm1965407/ ______________ POD DESCRIPTION: This is The House on Valencia Street. This is a place where ghosts & psychics, with PTSD, exist, & I'm talking about it. Share time with a rare survivor, walking back to haunted rooms and space being claimed from long ago. This is from the survivor's perspective, communicated as I see fit, in a way that feels right, for me. I do not offer advice here, I share what worked for me. I am not a professional therapist, this is just one case study, one perspective. Please seek professional help, if mental health issues need attention. This podcast is intended for entertainment purposes, and I am a commentator. Language is explicit, Content Warning: ghosts, psychic ability, rape, incest, foster care, murder, emancipation, BDSM, therapy, lightning strikes, personal responsibility, Buddhism, recovery, codependency, domestic violence - and inappropriate humor, most likely. Picture inset: This is me, so many years ago, standing in front of my mother's Impala, and the House on Valencia Street. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mohmah/support

In this special episode, Julia strikes out on her own to conduct a semi-scholarly takedown of C.S. Lewis's Till We Have Faces. Spoilers: she hated it. Featuring unfortunate fantasy naming, the Christianization of Cupid and Psyche, and a weak attempt to explain Apuleius.   Content warnings: Profanity Discussion of racism and misogyny   Support us by buying us a coffee! And follow us on Twitter!

For Educational Purposes Only. The Author, Creators and Producers own their content and book

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View our full collection of podcasts at our website: https://www.solgood.org/ or YouTube channel: www.solgood.org/subscribe

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When Apuleius married his friend's mother, little did he realise that it would lead to a charge of sorcery, with a raft of seemingly innocent actions from buying a mirror to writing bad poetry bought up in front of the courts to prove his wicked intentions. Unfortunately for his accusers, Apuleius was a skilled orator, educated in the art of philosophy and highly skilled at slandering his enemies. Guest: Associate Professor Rhiannon Evans (Head of Department of Languages and Linguistics, La Trobe University)

Peter Singer was born in Melbourne, Australia, in 1946, and educated at the University of Melbourne and the University of Oxford. After teaching in England, the United States and Australia, he has, since 1999, been Ira W. DeCamp Professor of Bioethics in the University Center for Human Values at Princeton University. He first became well-known internationally after the publication of Animal Liberation in 1975. In 2011 Time included Animal Liberation on its “All-TIME” list of the 100 best nonfiction books published in English since the magazine began, in 1923. He has written, co-authored, edited or co-edited more than 50 book which have been translated into more than 30 languages. His books include Practical Ethics; The Expanding Circle; How Are We to Live?, Rethinking Life and Death, Ethics in the Real World, Why Vegan? and, most recently, he has edited a new edition of what may be the world's earliest surviving novel, The Golden Ass, by Apuleius. Singer's book The Life You Can Save, first published in 2009, led him to found a non-profit organization of the same name which has raised more than US$35 million for the most effective charities assisting people in extreme poverty. In 2012 he was made a Companion of the Order of Australia, the nation's highest civic honour. Since 2021, he has been a co-editor of the Journal of Controversial Ideas, which enables authors to publish well-argued controversial essays in a peer-reviewed journal under a pseudonym. https://petersinger.info https://www.thelifeyoucansave.org/

In dieser Folge gibt es einen kleinen Rückblick auf das erste Jahr von Peters Literaturküche. Texte von: August Strindberg, Apuleius, Eric Rundholz, Kris Felti, Kurt Tucholsky, Hermann Harry Schmitz, Willi Ostermann und Peter Faszbender. Auch zu hören sind: Mimmi Nilsdotter und Eric Rundholz

Any decent list of the most influential living philosophers will include Peter Singer. For nearly 50 years, the Australian ethicist has been at the forefront of progressive politics — his ideas about animal rights and effective altruism have shaped those debates ever since the 80s and his brand of utilitarian progressive thought continues to dominate.More controversially, his writing against the sanctity of life and in favour of the morality of ending the lives of highly disabled infants have angered the Conservative Right as much as the disability lobby on the Left. He has been “cancelled” before the term even existed, with invitations to speak retracted multiple times over the years.Now he is co-Editor of a new “Journal of Controversial Ideas” which seeks to provide anonymity and safe publication for philosophical essays that touch on topics that might otherwise get the authors “cancelled.”I wanted to know whether the brand of ultra-utilitarian, universalist, progressive thought of which he is such a famous proponent has somehow got out of hand and come back to haunt him? Does he feel that defining virtue by our ability to overrule the natural order of things and care as much for faraway people as we do our loved ones in any way led to the populist backlash of 2016? Now that he is founding publications to protect against cancel culture, is he running from a monster that he helped create?I put these questions to him, and and more (including a discussion about his new book ‘The Golden Ass‘), in a highly enjoyable conversation. Many thanks to Peter for sparing the time.On the contemporary Left:They see themselves as defending people who are underprivileged, marginalised, disadvantaged. They want to extend that defence, not just to improving their social and economic position and preventing discrimination against them, but also making sure that they're not offended by remarks that are made. And that brings it into conflict with ideas of freedom of speech because if merely the fact that you might offend somebody is a grounds for preventing you speaking, there's not a lot of freedom of speech left.- PETER SINGER, UNHERDDoes he feel hoisted on his own petard?No, I don't think that because I've always been an advocate of freedom of speech. And in fact I think freedom of speech has been something that the Left traditionally has championed. - PETER SINGER, UNHERDOn identity politics:The idea that if you're a white male, that somehow this discredits you… doesn't seem to me at all a defensible view. I think we should look at what people say in terms of how well argued is this? Do the ideas hold up to critical scrutiny? Not in terms of what's the race or ethnicity or sex of the person who was saying it? - PETER SINGER, UNHERDOn critical race theory:People who describe themselves as proponents of critical race theory make racism just so all-encompassing as an explanation and don't really recognise the genuine and helpful efforts that have been made to make society less racist and to provide more opportunities for people, irrespective of their race. - PETER SINGER, UNHERDOn open borders:I've never been an advocate of open borders. Although in theory, I think a world with open borders would be great. But as a matter of political pragmatism, I've never thought we were ready for that. - PETER SINGER, UNHERDIs the failure to accept open borders a moral shortcoming or a fact of human nature?It is both the fact of human nature and a moral shortcoming. I think it's a fact of human nature that we should not celebrate, because it shows that we have an element of xenophobia: fear or hatred of strangers in our nature. And I accept that it's part of our biological nature, I don't deny that. And reason and ethical argument is not always powerful enough to overcome some of these facts of our nature. - PETER SINGER, UNHERDOn pragmatic idealism:In a democracy, you can't get too far ahead of where people are, you have to bring people along with you. Sometimes people and political leaders should do more than they are doing to bring people along with them. - PETER SINGER, UNHERDOn why he started the Journal of Controversial ideas:We were worried about the fact that people, particularly more junior untenured, academics, would be intimidated against publishing something controversial, for fear that this could do harm to their career, or personally that they would get such abuse that they would not be able to handle it. - PETER SINGER, UNHERDOn his new book, ‘The Golden Ass':It's a Roman novel…which was written in the second century of the Common Era. Apuleius was born in the reign of the Emperor Hadrian and died probably in the reign of Marcus Aurelius. So it's about a man who gets turned into a donkey because he dabbles in magic rather foolishly and has a bit of bad luck, and becomes a donkey and can't get out of it for some time.Apuleius had enough empathy with a donkey to describe various forms of cruel treatment that donkeys were enduring in the Roman Empire…There's a lot of empathy with animals. And that was certainly what first attracted me to it.- PETER SINGER, UNHERD See acast.com/privacy for privacy and opt-out information.

Episode 44: A detailed look at the Roman art of Pantomime which was the preeminent form of dramatic art during the Imperial period. Dr Elodie Palliard's thoughts on why Pantomime dominated and how it was used by the Emperors. The origins of Pantomime The performers Pylades, Bathyllus and their relationship with Emperor Augustus Pantomime as a non-verbal performance style Description of Pantomime and the regiment for it's supremacy over other forms by Lucian The banishment of performers and their reinstatement by Caligula Caligula and pantomime The morality of pantomime 2nd century description of pantomime by Apuleius. Dr Paillard is Honorary Associate in the Department of Classics and Ancient History at the University of Sydney and lecturer and scientific collaborator in the Department of Ancient Civilizations at the University of Basel. She is currently leading a research project on Greek theatre in Roman Italy, funded by the Swiss National Science Foundation. She is the author of 'The Stage and the City. Non-élite Characters in the Tragedies of Sophocles' (Paris 2017). She is currently co-editing two forthcoming collective volumes, one on Greek Theatre and Metatheatre: Definitions, Problems & Limits and one on Theatre and Autocracy in the Ancient World.  In parallel to her interest in ancient Greek theatre, she is also working on the social structure of Classical Athens and the emergence of democracy. You can connect with her on Twitter @elopai  This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Hello my witchy friends and thank you for tuning in to the fat feminist witch podcast! This is episode 87 and is all about PLEASURE. This is a sort of personal episode, and most of what I'm discussing today is kind of a new topic I'm exploring within my own personal practice. “Apuleius, The Golden Ass "Psyche (Soul) was wed to Cupidos (Love) [Eros], and at full term a daughter was born to them. We call her Voluptas (Pleasure) [Hedone]."   Thank you to my advertisers for this episode: Better Help - Want to get 10% off your first month of online counselling through Betterhelp? visit http://betterhelp.com/fatfeministwitch   The Grimoire Journal: A Place to Record Spells, Rituals, Recipes, and More is available RIGHT NOW! >Order Here My first book - GREEN WITCHCRAFT: A PRACTICAL GUIDE TO DISCOVERING THE MAGIC OF PLANTS, HERBS, CRYSTALS, AND BEYOND is now on sale! Get it >> HERE!

Ancient Roman author, Apuleius, makes his heroine the butt of a joke, but is Psyche as pathetic as she seems?

For the next episode in Spooky Season, we travel to Thessaly where their king, Erysichthon gets a horrifying punishment for his crimes against Demeter. Plus, Lamia and Empusa... monstrous and vampiric women of mythology.CW/TW: eating disorders; and as usual: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Magic, Witchcraft, and Ghosts in the Greek and Roman Worlds (A Sourcebook) by Daniel Ogden, Theoi.com, Ovid's Metamorphoses, translated by Allen Mandelbaum, and Apuleius's The Golden Ass, translated by Sarah Ruden.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Peters Literatur-Küche -Folge 4- DREISAMKEIT Lesung, Literatur, Kurzgeschichten, Lyrik, Begebenheiten, Anekdoten Die September-Folge von Peters Literatur-Küche geht online! „DREISAMKEIT“ – dabei sind Texte von: Apuleius, Kurt Tucholsky, Christian Morgenstern, Friedrich Schiller und Peter Faszbender. Eine gute halbe Stunde quer durch die Literatur, Satire, Lyrik, Begebenheiten, Anekdoten Kurzgeschichte und Kürzestgeschichten, für jede und jeden etwas dabei… Gäste bei der Lesung: Mimmi Nilsdotter und Eric Rundholz Viel Vergnügen bei und mit Folge 4! Vorgesehen ist jeweils eine neue Folge am ersten Freitag im Monat. Anregungen gerne unter: LitKueche@gmx.de oder unter: https://www.facebook.com/Literaturkueche

Today on The Literary Life Podcast, we begin our new series on C. S. Lewis’ masterpiece, Til We Have Faces. (Affiliate links are used in this content.) This week, Angelina Stanford, Cindy Rollins and Thomas Banks cover the first two chapters and share their observations as they reread this oftentimes challenging book. To help us gain a framework for this novel, Thomas summarizes the myth of Cupid and Psyche, the first telling of which is found in The Golden Ass by Apuleius. Angelina shares about some similarities in this myth with several familiar fairy tales. Cindy points out how Lewis changes some key pieces of the story to make it less mythical and more tethered to historical time and place. In opening the first chapter, Angelina tells her theory about this being a story about a character finding her identity as she looks back on her life. Our hosts talk about the strange nature of the paganism in Glome and also the interesting role of The Fox. They point out many of the classical Greek references that we need to pay attention to as we read this story. Tune in next week for a special interview episode with the author of Dorothy and Jack, Gina Dalfonzo. Following that, we will be back with chapters 3-5 of Till We Have Faces. Commonplace Quotes: A good carpenter is known by his chips. Jonathan Swift All too often, the legends old men tell are closer to the truth than the facts young professors tell. The wildest fairy tales of the ancients are far more realistic than the scientific phantasms imagined by moderns. Hilaire Belloc Earth’s crammed with heaven, And every common bush afire with God, But only he who sees takes off his shoes… Elizabeth Barrett Browning Song by John Donne Go and catch a falling star,     Get with child a mandrake root, Tell me where all past years are,     Or who cleft the devil’s foot, Teach me to hear mermaids singing, Or to keep off envy’s stinging,             And find             What wind Serves to advance an honest mind. If thou be’st born to strange sights,     Things invisible to see, Ride ten thousand days and nights,     Till age snow white hairs on thee, Thou, when thou return’st, wilt tell me, All strange wonders that befell thee,             And swear,             No where Lives a woman true, and fair. If thou find’st one, let me know,     Such a pilgrimage were sweet; Yet do not, I would not go,     Though at next door we might meet; Though she were true, when you met her, And last, till you write your letter,             Yet she             Will be False, ere I come, to two, or three. Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at https://cindyrollins.net, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. Check out Cindy’s own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let’s get the book talk going! http://bit.ly/literarylifeFB

In Episode 52 of the CounterVortex podcast, Bill Weinberg discusses CS Lewis' last novel, Till We Have Faces, a reworking of the myth of Eros and Psyche, comparing it to its ancient source material, The Golden Ass of Apuleius. The pagan roots of the novel, as well the influence of Lewis' first real love interest, Joy Davidman, make the work his most richly layered with meaning—and perhaps even unintentionally feminist. Weinberg also decries that the current edition does not include the original engravings by artist Fritz Eichenberg, a radical pacifist associated with the Catholic Worker movement. Listen on SoundCloud. Music: Barefaced by the Elu Dance Company Erratum: The current edition of Till We Have Faces without the original illustrations appears to be from HarperCollins, not Macmillan. Listen on SoundCloud, and support our podcast via Patreon. Production by Steph Rywalt and Chris Rywalt We ask listeners to donate just $1 per episode via Patreon. A total of $30 per episode would cover our costs for engineering and producing. We are currently up to $25. www.patreon.com/countervortex New episodes will be produced every two weeks. We need your support.

Boccaccios "Decamerone" får ny relevans varje gång ord som epidemi och karantän är på tapeten. Torbjörn Elensky presenterar en fräck klassiker och funderar över var dagens nya berättelser tar form. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Strax innan Coronaepidemin bröt ut vintern 2020 satt jag med en grupp vänner och diskuterade vad som skulle bli kvar av vår kultur vid en världsomspännande katastrof. Vi pratade om hur man planerar att gömma konst, historiska föremål och andra artefakter i väldiga bergrum. Och vi diskuterade givetvis hur stora problemen skulle bli kring tolkningsfrågor, värderingen av verk och så vidare. Hur många kvinnor respektive män? Vilka kulturformer skulle prioriteras? Vilka hänsyn till så kallad representativitet kommer att tas i ett skarpt läge? Bortsett från exakt vilka verk som skulle bevaras kom vi överens om att det viktigaste, det som överlever alla civilisationers sammanbrott, är berättelserna. De historier vi roar varandra med, de som förmedlar minnet av historiska, personliga, komiska och tragiska händelser, både sanna och mytiska, skulle vi, helt utan annan teknisk utrustning, bära med oss vart vi än tvingas vandra. Och över dem kan ingen bestämma: de som väcker genklang, som är viktiga för oss, kommer att föras vidare, medan de andra glöms bort. Den klassiska skildringen av hur en grupp vänner drar sig undan världens sönderfall för att i trygg avskildhet fördriva dagarna med berättande är Giovanni Boccaccios "Decamerone", en av de självklara stora litterära klassikerna. Året är 1348, Florens härjas av pesten, döden är överallt, omväxlande med paniskt festande. Samhället har praktiskt taget kollapsat, då sju unga kvinnor träffas i en kyrka och bestämmer sig för att dra sig undan till en lantvilla för att njuta av lugnet, naturen och varandras umgänge. De bjuder också med tre unga män, som lämpligt nog råkar komma in i kyrkan. Så fördriver dessa tio vänner tio dagar med tio historier var, vilket gett oss hundra noveller. Pesten slog sönder det medeltida Europa. Givetvis var det en katastrof för alla som genomlevde den. Särskilt Italien, som inte var någon enad nation vid den tiden, men där de flesta av Europas rikaste stater och städer låg, drabbades. Feodalismen gick under i pesten. De gamla adelsfamiljerna miste inte bara sina lantarbetare utan många förlorade även egendomarna, till de nyrika som ägnade sig åt handel och bankväsende. Sådana som familjen Medici. Kyrkans makt minskade också. Allt detta beredde vägen för en ny tro på människan, nya rikedomar och faktiskt själva renässansen. Boccaccio beskriver denna öppning i tiden, då människan träder in på scenen i helfigur. "Decamerone" ger en direkt bild av vardagslivet i 1300-talets Toscana. I en tid då litteraturen dominerades av helgonlegender, riddarromaner och höviska diktverk, samt då man gärna använde klassiska förebilder och varierade välbekanta historier valde Boccaccio att skriva rakt av, på folkspråket, om sin egen samtid, i noveller fulla av social kritik, bedrägerier, många berättelser om fräcka präster och inte så lite sexuella äventyr, där inte minst historierna om listiga kvinnor som lurar sina makar för att kunna ligga med sina älskare är framträdande. De många kyrkliga dignitärerna i Decamerone är löjeväckande figurer som inte har mer makt över andra än över sig själva. Och sin egen kåthet och girighet behärskar de inte alls. Ingen av berättelserna skildrar de yttersta tingen eller hur någon högre makt ska döma oss för våra synder, utan enbart människor i relation till andra människor. Nya konstformer skapas genom kanoniseringen av låga konstformer, skrev den den ryske litteraturforskaren och Viktor Sjklovskij 1923. Det är lätt att inse att han har rätt, om man gör en snabb översikt över historien. Etablerad konst stelnar alltid förr eller senare och tappar den vitalitet som krävs, åtminstone i vår europeiska tradition, för att den ska vara angelägen för såväl folk som furstar. Och impulserna till nyskapande kommer inte sällan från det folkliga. Decamerone är ett tydligt exempel: en samling berättelser utan högre syfte än att underhålla, lagda i munnen på kvinnor, som talar fritt om sex och synd och falska präster. Decamerone må vara författad av en man, men det är kvinnornas bok. Visst hade Boccaccio litterära förebilder, men inte den högstämde Vergilius som hans äldre kollega Dante utsåg till sin guide genom inferno och vars Aeneid han ville överträffa med sin gudomliga komedi. Utan Apuleius, en prosaförfattare som var verksam på 100-talet e Kr och vars skabrösa roman Den gyllene åsnan skildrar allt tänkbart snusk och sex och groteskerier i form av berättelser infogade i en ramhandling. Där Boccaccios ramhandling utgörs av de unga vännernas stilla samvaro skildrar Apulejus hur huvudpersonen flänger runt förvandlad till åsna. Men det låga, det folkliga, har verken gemensamt. Totalt tre av de hundra novellerna i Decamerone går tillbaka på antika förebilder, två på Apuleius, och en på den lika folkligt burleska Satyricon, av den romerske författaren Petronius. En pandemi tvingar oss alla att ta nya hänsyn. Några drar sig tillbaka tillsammans, i självvald karantän, precis som de unga kvinnorna och männen i Florens 1348. Liksom till exempel somliga parisare i mars 2020 försökte ta sig till sina landställen, för att vaka ut karantänen på behörigt avstånd från storstadens hotande kaos. Men vad sysslar isolerade ungdomar med i vår högteknologiska tid? Och vilka är de konstformer som kommer att kanoniseras framöver? Den folkliga kreativiteten och berättelserna sprids mest via sociala medier i form av Tiktok-videor, memer och så vidare idag. Dessa tekniska möjligheter och inte minst de former de ger upphov till påverkar naturligtvis även litteraturen och konsten. Exempelvis finns det något fascinerande i memens form, där samma bild åtföljs av olika texter, och därmed får helt olika innebörd, fast hela tiden i ett sammanhang som skapas av memernas relation till varandra i nåt slags oändlig kedja av kollektiva associationer. Eller för den delen de omfattande sammanställningar av Tiktok- och vinevideor, superkorta filmsnuttar som ofta innehåller bisarra skämt, satir, rena slapsticken och variationer på teman, som är både självkommenterande och utåtriktade i närmast oändliga loopar. Viktor Sjklovskij skrev i anslutning till det tidigare citerade, att Konsten är, innerst inne, ironisk och destruktiv. Han uttryckte detta mitt i det kaos som följde åren efter den ryska revolutionen, då han mot alla odds envist arbetade vidare med sina litterära projekt, medan världen föll samman runt omkring honom. Men även om han påverkades av sin samtids katastrofala händelser hade han rätt i att konsten inte bara kan vara uppbygglig, tam, snäll och trösterik, inte om den ska vara verkligt angelägen för oss människor i vår osäkra tillvaro. Sex, maktmissbruk, lustiga sammanträffanden och bedrägerier, där den svagare sätter dit den starkare, roade oss i lika mycket i antikens Rom och medeltidens Florens som i vår samtid. Epidemier, pandemier och andra katastrofer kommer och går. Mänskligheten har hittills trots allt klarat sig. Och våra berättelser med oss. Torbjörn Elensky, författare

This lecture was given by Prof. Sarah Byers (Boston College) at Queen's University on 28 October 2019. Sarah Byers has mainly written on Augustine and Hellenistic philosophy. Her work focuses on the reception of Stoicism in Augustine and in other early Christian figures, but she also works on Plotinus, Apuleius and Victorinus in relation to Augustine. For more information on this and other events go to https://thomisticinstitute.org/events-1

In this episode we discuss the defense-speech of Apuleius against charges of having used magic to make a wealthy widow fall in love with him. Roman law, sorcery, and philosophy collide in a rhetorical tour-de-force, and we discuss whether fish are magical or not.

In this episode, a miller's wife decides to take revenge on her husband, but doesn't count on his daughter finding out... This story has been adapted from Apuleius, Metamorphoses, 9.29-31. Apuleius was a Roman citizen from North Africa, and is one of my very favourite ancient authors, which is why I had to kick start Creepy Classics with him!

Apuleius was a great Latin-language Middle Platonist writer, whose works preserve some fascinating esoteric materials which had a major impact on the development of western esotericism in the Latin middle ages and beyond. We introduce the man and his famous occult novel, the Metamorphoses, or Golden Ass.

Astrologer Gray Crawford joins me to discuss planets in fall and how we might think about them and where we might look to find stories that help us in better understanding their condition.

Themen in Folge #1: Heftstreifen vs Hexensalbe Fake The Facts – Die Podcast-Gameshow für Spürnasen und Besserwisser. Jede Folge präsentieren Finn & Mats sich gegenseitig ein absolut triviales Thema und jubeln dem Anderen dabei einen ausgedachten Quatsch-Fakt unter. Bemerkt das Gegenüber den Schwindel, gibts Punkte. Willkommen im Paradies des unnützen Wissens, des Schwindels und des Bluffs. Das ist: Fake The Facts!

A complete Latin audiobook of the fourth book of Apuleius' Metamorphoses.

A complete Latin recording of the second book of Apuleius' Metamorphoses.

A complete Latin recording of book 3 of Apuleius' Metamorphoses.

S2E12 The Golden Ass is the only surviving complete Latin novel from the Classical period. Also known as The Metamorphoses, it straddles more than one running theme on Ear Read This, as well as being filthy, funny and full of history. Grab your toga and get your ass over here. Time for a Roman literary feast.  @earreadthis earreadthis@gmail.com facebook.com/earreadthis Music: "Not Drunk" by the Joy Drops, "Temple of the Manes" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

A complete Latin audiobook of book one of Apuleius' Metamorphoses.

My interview with Ellen Finkelpearl, Professor of Classics at Scripps College, on zoomusicology, Apuleius, and teaching at a liberal arts women's college.

Hodie vobis fabulam ex Apuelii Metamorphoseon libro tertio non recitabo sed aliis verbis narrabo. Est de Lucio eiusque nocturnis periculis. Insunt cum alia tum caedes et latrones.

How do you say “don't worry” in Latin? I go through two different expressions. The first is from Terence and the second one is from Apuleius.

Apuleius on the Doctrines of Plato which is also known as On Plato and his Doctrine (Latin: De Dogmate Platonis) is divided into three parts. Book I: On Natural Philosophy. Book II: On Moral Philosophy. Book III: On the Philosophy of Reasoning. Painting: Cupid and Psyche by François Pascal Simon. Translated by George Burges. Audiobook read by Geoffrey Edwards.

Mark 5:35-6:5

Mark 5:35-6:5

Most people familiar with C.S. Lewis' work will have come to him via the Chronicles of Narnia, a series of fantasy books that's defined for better or worse by its heavy-handed Biblical allegory. Till We Have Faces, Lewis' last novel, certainly deals with some of the same themes. But it's also a retelling of the classic Cupid and Psyche myth that originally appeared in Apuleius' The Golden Ass in the late 2nd century. Join us as we talk about the myth retold, Lewis' Christian roots, and what happens when Heaven and Hell host the Olympics.

“We live between the act of awakening and the act of surrender.” John O’DonohueHalf myth, half fairy tale, this story was first told by Apuleius in the 2nd century but it stills speaks to the mysteries of love and the challenge of finding your Self in relationship with an Other. Are we talking about men and women? Sure. Are we talking about the inner masculine and feminine? Right again. There are many levels and angles to contemplate in this story, and many faces of the Other, divine and otherwise. In parts 1 and 2 I tell the story. In part 3 we walk back through the myth and talk about the psychological implications of the story. Along the way I’ll offer one interpretation of the metaphors and symbols in this tale of love found, lost, and found again.MITM theme music by Travis Rosenberg. Thanks to Radio Free Joshua Tree for providing MITM a home on internet radio-- and thank you for listening!Support the show (https://www.patreon.com/mythmatterspodcast)

Half myth, half fairy tale, this story was first told by Apuleius in the 2nd century but it stills speaks to the mysteries of love and the challenge of finding your Self in relationship with an Other. Are we talking about men and women? Sure. Are we talking about the inner masculine and feminine? Right again. There are many levels and angles to contemplate in this story, and many faces of the Other, divine and otherwise.In parts 1 and 2 I tell the story. In part 3 we walk back through the myth and talk about the psychological implications of the story. Along the way I’ll offer one interpretation of the metaphors and symbols in this tale of love found, lost, and found again.MITM theme music by Travis Rosenberg. Thanks to Radio Free Joshua Tree for providing MITM a home on internet radio-- and thank you for listening!Support the show (https://www.patreon.com/mythmatterspodcast)

Half myth, half fairy tale, this story was first told by Apuleius in the 2nd century but it stills speaks to the mysteries of love and the challenge of finding your Self in relationship with an Other. Are we talking about men and women? Sure. Are we talking about the inner masculine and feminine? Right again. There are many levels and angles to contemplate in this story, and many faces of the Other, divine and otherwise.In parts 1 and 2 I tell the story. In part 3 we walk back through the myth and talk about the psychological implications of the story. Along the way I’ll offer one interpretation of the metaphors and symbols in this tale of love found, lost, and found again.MITM theme music by Travis Rosenberg. Thanks to Radio Free Joshua Tree for providing MITM a home on internet radio-- and thank you for listening!Support the show (https://www.patreon.com/mythmatterspodcast)

David Grubbs conducts a conversation with Nathan Gilmour and Michial Farmer regarding witches, from the ancient Near East all the way up to Broadway musicals. As figures of darkness and danger, witches occupy particular places in the worlds of Egyptian, Roman, medieval Christian, and modern mythologies, and their recent appropriation as figures of heroic resistance makes them even mroe fascinating. Among the texts, witches, and other realities discussed are Medea, Apuleius, the necromancer at Endor, Macbeth, Goethe's Faust, The Crucible, Disney's Cinderella, and the Wizard of Oz.

David Grubbs conducts a conversation with Nathan Gilmour and Michial Farmer regarding witches, from the ancient Near East all the way up to Broadway musicals. As figures of darkness and danger, witches occupy particular places in the worlds of Egyptian, Roman, medieval Christian, and modern mythologies, and their recent appropriation as figures of heroic resistance makes them even mroe fascinating. Among the texts, witches, and other realities discussed are Medea, Apuleius, the necromancer at Endor, Macbeth, Goethe's Faust, The Crucible, Disney's Cinderella, and the Wizard of Oz.

Apuleius, Victorinus, Martianus Cappella, Macrobius and Calcidius present and interpret Platonic teachings for readers of Latin.

This podcast features an article from the 2010 No. 1 Isis issue of the Rosicrucian Digest. In this commentary on Chapter 11 of The Golden Ass, John Carey connects Lucius's experiences with the ancient Egyptian concept of the Amduat, demonstrating the Egyptian tradition contained within the Isis Mysteries. Running Time: 6:55 | 9.5 MB Podcast Copyright © 2010 Rosicrucian Order, AMORC. All Rights Reserved. Posted by Rosicrucian Park @ 11/01/2010

This podcast features an article from the 2010 No. 1 Isis issue of the Rosicrucian Digest. In this commentary on Chapter 11 of The Golden Ass, John Carey connects Lucius's experiences with the ancient Egyptian concept of the Amduat, demonstrating the Egyptian tradition contained within the Isis Mysteries. Running Time: 6:55 | 9.5 MB Podcast Copyright […]

The Metamorphoses of Lucius by Lucius Apuleius, better known as The Golden Ass, is the only Roman novel to survive today. The present selection is assumed to be autobiographical, as Lucius describes the epiphany of Isis, most probably from his participation in the Isis Mysteries themselves. Running Time: 12:53 | 17.29 MB Podcast Copyright © 2010 Rosicrucian Order, AMORC. All Rights Reserved. Posted by Rosicrucian Park @ 08/01/2010

The Metamorphoses of Lucius by Lucius Apuleius, better known as The Golden Ass, is the only Roman novel to survive today. The present selection is assumed to be autobiographical, as Lucius describes the epiphany of Isis, most probably from his participation in the Isis Mysteries themselves. Running Time: 12:53 | 17.29 MB Podcast Copyright © 2010 Rosicrucian Order, […]

Calpurniane, salue properis uersibus. Misi, ut petisti, tibi munditias dentium, nitelas oris ex Arabicis frugibus, tenuem, candificum, nobilem puluisculum, complanatorem tumidulae gingiuulae, conuerritorem pridianae reliquiae, ne qua uisatur taetra labes sordium, restrictis forte si labellis riseris. Subscribe with

You'd think a romance with the God of Love would be easy, but Psyche discovers otherwise in this ancient tale of jealous goddesses, talking ants, and timeless love.