Podcasts about as dante

Ciacco has fallen back into the muck of the third circle of INFERNO, never to be seen again--or at least not until the last judgment when the angelic trumpets resound across the universe. As Dante-the-pilgrim and Virgil make their way around the circle and then start to descend to the fourth circle, they talk about the future--maybe prompted by Ciacco's Florentine prophecy, maybe for other reasons. They talk about the BODILY resurrection--because what else would you discuss among the gluttons? Join me, Mark Scarbrough, as we watch Virgil get the future wrong yet correctly assess the end of time itself in this episode of WALKING WITH DANTE. Here are the segments of this episode: [01:25] My English translation of this passage from INFERNO: Canto VI, lines 94 - 115. If you want to see this translation, head out to markscarbrough.com and look for the subheader "walking with Dante." [03:03] Virgil's view of the apocalypse. Interesting that after Ciacco tells the future, Virgil feels he needs to as well. But whereas Ciacco tells a correct vision of the political future of Florence, Virgil gets the second coming of Christ wrong. Fascinating bits in this passage! [07:12] Aristotle! Again! And as part of the apocalypse. Aristotle has been running under this canto since the start--and here comes out to the front of the discussion, which includes thoughts on the materiality of personhood, all from a old poet who sees Christ as a "baleful power." [19:54] The last lines of Canto VI and the road's bend--that is, the first time we're starting to see how our pilgrim and his guide have to walk around a circle before they can find a place to descend. Support this podcast

Caina created by Midmight. "To quote the Longfellow translation of Canto 32 (Caïna: Traitors to Kindred), “ ’Tis no enterprise to take in jest, to sketch the bottom of all the universe.” Like Dante, I called on the Muses to help compose “rhymes both rough and stridulous . . . appropriate to the dismal hole” that is the Ninth Circle. I was inspired by Dante’s choice of this hell circle as a place of brutal cold—instead of the typical burning fire—for the worst of the worst sinners.  "As Dante walks on thick ice, he at first doesn’t see the thousands of traitors’ bodies frozen up to their necks, their heads sticking out, eyes crying, teeth chattering, “shivering in the eternal shade”—much as how family turmoil can be hidden under the surface. But once he does, the scene turns savage, with Dante spotting brothers, fathers, nephews, who have killed their own family members. So in the midst of this frigid, deathly scene, and this piece, are harsh rhythms and flashes of raging unfrozen hearts, whether hatred or even memories of familial love.  "The ice stores and reflects and emits a feedback loop of the betrayals and ties passed down through generations and amassed in a violent collective history.  "I used field recordings (from San Francisco, Naoshima, and wintry Buffalo, NY), a MicoKorg, Sirkuit SNB, Jomox Resonator Neuronium, 4ms Noise Swash, and BugBrand PT Delay to create the icy hellscape." Part of the Inferno project to imagine and compose the sounds of Dante’s Hell, marking the 700th anniversary of The Divine Comedy. To find out more, visit http://www.citiesandmemory.com/inferno

When Dante Galand was just a boy, his father, Larsin, sailed away to make his fortune. And never returned. Since then, Dante has become a great sorcerer. A ruler. A destroyer of kings. And he's just learned that his father is living on a forbidden island at the edge of the known world. Where he's dying of a mysterious plague. In the company of his friend, the swordsman Blays, Dante travels to the island. There, his magic can do nothing for his father. As Dante and Blays quest for a cure - beset by strange beasts, angry spirits, and violent coastal raiders known as the Tauren - Dante falls sick, too. To save his father and himself, he'll have to rediscover the island's long-lost magic. But the hunt for its secrets leads Dante on a crash course with the Tauren - and island-wide civil war. And as he's away, an old threat begins to move against his homeland.

When Dante Galand was just a boy, his father, Larsin, sailed away to make his fortune. And never returned. Since then, Dante has become a great sorcerer. A ruler. A destroyer of kings. And he's just learned that his father is living on a forbidden island at the edge of the known world. Where he's dying of a mysterious plague. In the company of his friend, the swordsman Blays, Dante travels to the island. There, his magic can do nothing for his father. As Dante and Blays quest for a cure - beset by strange beasts, angry spirits, and violent coastal raiders known as the Tauren - Dante falls sick, too. To save his father and himself, he'll have to rediscover the island's long-lost magic. But the hunt for its secrets leads Dante on a crash course with the Tauren - and island-wide civil war. And as he's away, an old threat begins to move against his homeland.

As Dante gets the newspapers set up, the guys look at the headlines on the Daily News and discuss the career of Scott Mosier.

One of the best passages in all of Marcus Aurelius’s Meditations is the opener to Book V. In it, Marcus has a dialog with himself as he struggles to get out of bed in the morning. It’s just marvelously relatable. Here we have an extraordinary man, some twenty centuries ago, struggling just like every ordinary man and woman has, to get up the willpower to get up from his warm bed and get to work. Who hasn’t had a similar conversation with themselves? Who hasn’t thought, just as Marcus did, that “it’s nicer here” under the covers? As Dante wrote in his Divine Comedy, “beneath the blanket is no way to fame.” Not that Marcus or the Stoics would have advocated chasing fame. Still, Marcus did get out of bed that morning and every other morning. Why? Because he had to. He had a job to do. We all do. Ordinary and extraordinary alike, we weren’t put on this planet and evolution didn’t mercilessly improve and refine our species to do nothing. No, we have skills to deploy and duties to fulfill. We have things to do. It’s time to get up and do them.

In this lecture, Professor Mazzotta examines Paradiso 18-19 and 21-22. In Paradiso 18, Dante enters the heaven of Jupiter, where the souls of righteous rulers assume the form of an eagle, the emblem of the Roman Empire. The Eagle's outcry against the wickedness of Christian kings leads Dante to probe the boundaries of divine justice by looking beyond the confines of Christian Europe. By contrasting the political with the moral boundaries that distinguish one culture from another, Dante opens up the Christian economy of redemption to medieval notions of alterity. In Paradiso 21, Dante moves from the exemplars of the active life to the contemplative spirits of the heaven of Saturn, Peter Damian and St Benedict. The question of perspective through which the theme of justice was explored resurfaces to distinguish between the visionary claims of the contemplative and mystical traditions. As Dante ascends to the Heaven of the Fixed Stars, catching sight of the earth below (Paradiso 22), his own visionary claims are distinguished by an awareness of his place in history.

In this lecture, Professor Mazzotta examines Paradiso 18-19 and 21-22. In Paradiso 18, Dante enters the heaven of Jupiter, where the souls of righteous rulers assume the form of an eagle, the emblem of the Roman Empire. The Eagle's outcry against the wickedness of Christian kings leads Dante to probe the boundaries of divine justice by looking beyond the confines of Christian Europe. By contrasting the political with the moral boundaries that distinguish one culture from another, Dante opens up the Christian economy of redemption to medieval notions of alterity. In Paradiso 21, Dante moves from the exemplars of the active life to the contemplative spirits of the heaven of Saturn, Peter Damian and St Benedict. The question of perspective through which the theme of justice was explored resurfaces to distinguish between the visionary claims of the contemplative and mystical traditions. As Dante ascends to the Heaven of the Fixed Stars, catching sight of the earth below (Paradiso 22), his own visionary claims are distinguished by an awareness of his place in history.