Podcasts about chaucer

Trascrizione con glossario (gratis)In questo episodio di livello intermedio, parliamo del rapporto tra l'Italia e la letteratura inglese: da Chaucer a Shakespeare, da Milton ai poeti romantici Byron, Shelley e Keats. Un viaggio attraverso i secoli per scoprire come e perché l'Italia ha ispirato alcuni dei più grandi scrittori di lingua inglese.Altri link e risorse utili:Dentro l'Italia - Corso di italiano avanzato (C1)Ebook gratuito: come raggiungere il livello avanzato in italiano"Ebook gratuito, "50 modi di dire per parlare come un italiano"YouTubeInstagramFacebook

What if your climate risk assessments could predict the future with greater accuracy than historical data alone?In part two of this conversation on Making Risk Flow, Jake Harding continues his discussion with Joan Saladich, Founder of Geoskop, exploring how insurers can move beyond static climate risk models and embrace a more sophisticated, forward-looking approach to decision-making. Joan explains why annual climate model updates can create misleading conclusions, how vegetation and soil dynamics reshape wildfire risk, and why relying on single-source data leaves carriers exposed to blind spots. The conversation also examines the role of AI and large language models in processing complex climate datasets, emphasising that technology should enhance, not replace, human judgment. Joan outlines a practical framework for combining historical data, future climate projections, alternative statistical models, and socioeconomic context to generate more accurate, explainable, and actionable climate risk intelligence. Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

This month's latest episode explores the aerial acrobats that are falcons. Meet two that call the Trust home, Chaucer the Lanner Falcon and Farah the Peregrine Falcon. Hear how Peregrine Falcons have made remarkable recoveries in some areas, while others remain vulnerable due to major data gaps, emerging threats, and ongoing exploitation. The illegal wildlife trade is a sizeable, established and growing threat, and the future of large falcons will depend on current choices. Nature's a Hoot is the podcast brought to you by the Hawk Conservancy Trust - a conservation charity with a mission to conserve birds of prey and their habitats, and visitor attraction centre in Hampshire, England. This podcast is hosted by our Deputy Head of Living Collection, Tom Morath. Find out more about our conservation and research work with birds of prey

What if the climate risk data you're using to underwrite policies is fundamentally flawed?In this first of two-part episode of Making Risk Flow, host Jake Harding speaks with Joan Saladich, CEO and co-founder of Geoskop, about why traditional climate risk scores often fail insurers and what a more sophisticated approach looks like. Joan explains how deterministic ratings and traffic-light systems oversimplify complex climate realities, making them unsuitable for underwriting decisions. He explores the value of probabilistic climate modeling, AI-powered analysis, and uncertainty quantification in assessing evolving risks. The conversation also examines changing reinsurance dynamics, which are pushing more climate-related exposure onto commercial insurers. Joan discusses the importance of validating climate models through measurable accuracy and transparency, while highlighting how outdated scenario assumptions can distort risk assessments. Together, they show how embracing data complexity can create a meaningful competitive advantage in modern insurance underwriting. Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

Six seveeeen. Ok, ma che vuol dire? Non è dato saperlo, se non si è in quell’età compresa fra zero e 12 anni, però vi possiamo dire un sacco di cose a riguardo, che vi potrebbero scioccare. Ad esempio: quando nasce questo “modo di dire”? 2024? 2025? No. Lo usava Shakespeare e, prima di lui, addirittura Chaucer nel 1300.See omnystudio.com/listener for privacy information.

Greg Jenner is joined in medieval England by Professor Marion Turner and comedian Mike Wozniak to learn all about Geoffrey Chaucer, author of the Canterbury Tales.Since the 15th century, Chaucer has been referred to as the father of English literature. He was one of the first authors to champion the use of Middle English for poetry instead of Latin, and after the invention of the printing press, his works became the foundation of the English literary canon – long before Shakespeare ever put quill to parchment. But Chaucer's life was as extraordinary as his legacy, living as he did through the Black Death, the Hundred Years' War between England and France, and the Peasants' Revolt.In this episode, Greg and his guests explore Chaucer's dramatic biography: growing up the son of a wine merchant in fourteenth-century London, his work for the royal court and long career as a medieval civil servant, his relationship with John of Gaunt through his mistress Katherine Swynford, and his travels throughout Europe. They also examine the poets that influenced him – including Petrarch, Bocaccio and Dante – and take a deep dive into the famous Canterbury Tales.This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Rosalyn Sklar Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

In this week's episode of The Learning Curve, co-hosts Prof. Albert Cheng of the University of Arkansas and Alisha Searcy of the Center for Strong Public Schools speak with Andrew Hadfield, Emeritus Professor of English at the University of Sussex and British Academy Fellow, about the life, works, and legacy of the great poet Edmund Spenser. Prof. Hadfield explains how Edmund Spenser's uncertain family background and humanist education at Merchant Taylors' School and Cambridge, grounded in Virgil, Ovid, Petrarch, and Chaucer, shaped his literary imagination within Elizabethan England. He situates Spenser amid the many political and religious tensions of Queen Elizabeth I's reign, and traces Spenser's rise through The Shepheardes Calender and patronage under the 4th Earl of Leicester, Robert Sidney. Then, Prof. Hadfield turns to The Faerie Queene, its epic allegorical knights, virtues, and the Spenserian stanza, all of which widely influenced British literature and ultimately the English language across the globe. He addresses Spenser's controversial Irish writings and reflects on his enduring reputation as a foundational “poet's poet.” Prof. Hadfield closes the interview with a reading from The Faerie Queene.

What if the data you needed to price complex agricultural risks were available in near-real time instead of months later?In this episode of Making Risk Flow, host Jake Harding speaks with Caroline Grey, co-founder and CRO at Treefera,  about how satellite imagery, AI, and scientific modelling are reshaping the future of insurance risk assessment. Caroline explains why the industry is moving beyond broad regional assumptions towards plot-level intelligence that enables faster underwriting, more accurate pricing, and entirely new insurance products. The conversation explores how insurers can use near-real-time agricultural and climate data to reduce claims exposure, improve operational efficiency, and respond proactively to supply chain volatility. Caroline also shares practical guidance on structuring complex datasets for different business stakeholders, building scalable partnerships, and validating new solutions through low-risk pilots. This episode offers valuable insight into how data-driven underwriting is creating a competitive advantage across commercial insurance markets. Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

In this episode, Zelda Cahill-Patten and Sofia Holmberg explore the unusual tomb of Alice Chaucer, a wealthy and influential noblewoman living in 15th-century England. Together, Zelda and Sofia unpack clues about Alice's life as a pious and powerful widow, from her religious practices of bodily discipline, to the books she read, to the striking monument itself.For more information, visit www.multiculturalmiddleages.com.

Being a tax collector in medieval London was not exactly a popularity-enhancing career choice.

What if the insurance industry could move at the speed of modern technology?In this episode of Making Risk Flow, Christian Stobbs, Chief Strategy & Corporate Development Officer at Markel, joins host Juan de Castro to discuss what it takes to build a preeminent specialty insurer in an increasingly technology-driven market. Christian explains why speed, customer obsession, technical expertise, and principled decision-making must work together as a unified competitive advantage. The conversation explores how insurers can localize strategy across international markets, reduce costly operational inefficiencies, and deploy AI to enhance underwriting and claims without losing critical human judgment. Christian also shares why transformational technology initiatives should operate with startup-style urgency, how AI will reshape underwriting roles, and why the insurers that adapt fastest will define the future of specialty insurance. Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

“You have been weighed. You have been measured. And you have been found wanting.” Join Ian & Liam for our 331st episode as we joust for glory, dance to Queen in medieval Europe, and revisit Brian Helgeland's wildly anachronistic crowd-pleaser A Knight's Tale (2001). Megs isn't with us this week — she's apparently been appointed to the royal court after successfully inventing modern fashion 600 years early. Kev? Last seen trying to enter a jousting tournament under a fake noble title before being immediately exposed by Paul Bettany. This week we discuss: Heath Ledger's breakout leading-man performance — charming, earnest, rebellious. Was this the moment Hollywood realised he could do absolutely anything? The film's glorious tonal chaos — medieval sports movie, romantic comedy, rock concert, underdog drama. Why does this bizarre cocktail somehow work? Paul Bettany's Chaucer — flamboyant, scene-stealing, and possibly the film's secret MVP. Liam breaks down the film's anachronisms — Queen, Bowie, Nike-energy editing. Does the film transcend historical accuracy through sheer confidence? Ian explores the underdog narrative — class, identity, and whether William's rise actually challenges the social order or merely slips inside it. The romance between William and Jocelyn — genuine chemistry or the weakest part of the film? The sports-movie structure — training montages, rivalries, and comeback arcs dressed in chainmail. The “show vs tell” balance — does the film earn its emotional moments through character work, or simply overwhelm you with charisma and music? Rufus Sewell's Count Adhemar — classic villainy, simmering resentment, and one of the great sneering performances of the era. What's with the romantic plot's detour in Act II - where did that come from? The ending — triumphant, ridiculous, emotionally earned… or all three simultaneously? And finally, whether A Knight's Tale is the Best Film Ever — or simply one of the most aggressively lovable films of the 2000s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank

Good morning. Reed Hoffman, one of the founders of Linked In, tells us that typing is over and voicepilling is here.This is the word he has coined to capture the way, he says, we are set to bypass keyboards. After the quill the pen, then the typewriter, the text, the voice note… but in voicepilling entire articles, essays or books - everything actually - is spoken directly to the machine for production. Hands-free.Is voicepilling a word that will stick? Sounds unlikely but who knows? New words seem to be invented more rapidly than ever but then language is always being born again.At an open mic event I was at this week one poet used the beautiful expression ‘sonder' - the kind of neglected word from Chaucer or Shakespeare which etymologists and crossword compilers love to rediscover. Sonder is defined as one's realization that each person you pass by ‘is the main character in their own story, in which you are just an extra.'The definition comes from John Koenig in his Dictionary of Obscure Sorrows, a collection of words he created to capture emotions that he says, ‘we feel but don't have the words too express'.Some words or phrases disappear, some morph into new meaning… while others stick around for ever.Few writers have had more stickability than William Tyndale. The 500th anniversary of his English New Testament is currently being celebrated in an exhibition at the British Library and, from next month, at St Paul's Cathedral.Tyndale believed it shouldn't only be priests who could access the Bible, but that everyone should hear it in everyday English. His translation, published in 1526, was so popular that when King James commissioned his 'Authorized Version', nearly a century later, the royal translation team ripped ninety percent of their text straight out of Tyndale.His phrases continue to haunt the language: 'from strength to strength'; ‘for better or worse'; ‘lead us not into temptation but deliver us from evil'; ‘salt of the earth' and ‘fight the good fight'.Tyndale was after a poetic language understood by ordinary people and was so successful that, as someone said, ‘No Tyndale, No Shakespeare'.Or as playwright David Edgar put it: ‘No Tyndale, No Kindle'.But in democratizing religion, in translating the divine into the human, he was branded the ‘most dangerous man in England' and burned at the stake. The political powers could see, to use another of his phrases, ‘the writing on the wall'.Words are dangerous. Once you can speak the divine in your own tongue then you can bring god down from heaven onto earth and decide for yourself what your religion means for your life.You can, as Tyndale wrote, ‘let there be light'

Send Catherine a text Message“All things change; nothing perishes.”-- OvidOvid was a Roman poet who wrote his master work, The Metamorphoses or "Transformations," in 8 C.E.. He weaves more than 250 Greek myths together in one long poem to tell a story of transformation, and explore the complexities of love as an agent of change. Ovid's voice has been influential over the centuries. The Metamorphoses was an important touchstone for Dante, Chaucer, Shakespeare, and other artists and thinkers whose works are foundational to today's dominant culture. HIs perspective and the story that he tells are worth examination. Is it still useful to us? Does it offer anything to our vision of the future?Support the showEmail Catherine at catherine@mythicmojo.comPost a positive review on apple podcasts! Learn how you can work with Catherine at https://mythicmojo.comBuy me a coffee. Thank you!

We continue to snoop through Jack's Bookshelf, with Dr. Simon Horobin introducing us to Geoffrey Chaucer...[Show Notes]

In this special compilation episode of Making Risk Flow, we bring together five standout conversations exploring how agentic AI, digital transformation, and organizational culture are reshaping the insurance industry. Featuring insights from leaders including Antonio Grimaldi of McKinsey & Company, Sam Lewis, Nicolas Zerbib, Richard Hartley, Bill Harris & Drake Slaikeu-Lawhead, the episode examines why AI leaders are generating dramatically stronger returns than competitors and how technologies like stateful agents, spatial intelligence, and headless orchestration are changing underwriting and distribution.Beyond technology itself, the discussion highlights the cultural shifts required to unlock transformation at scale. From reducing workflow friction to improving underwriting precision and scaling operations without proportional hiring, this episode offers practical frameworks for carriers, brokers, and tech leaders navigating insurance's next era. Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

A KNIGHT'S TALE Born a peasant, William Thatcher sets out to change his stars, win the heart of a noble maiden, and shake up the medieval world around him. With the help of his loyal friends, he enters the brutal world of tournament jousting, where he must prove he has the courage, skill, and heart to become a legend. Craig and Elisabeth talk about Chaucer, naughty cross-stitching, droopy eyes and the movie “A Knight's Tale” on this week's Matinee Heroes! Show Notes 00:00:00 Introduction 00:00:42 Craig and Elisabeth talk about naught cross-stitch and embroidery. 00:08:46 Craig and Elisabeth discuss "A Knight's Tale." 00:50:50 Recasting 01:22:08 Double Feature 01:24:52 Final Thoughts 01:29:41 A preview of next week's episode "Excalibur." Next week, medieval May continues with the 80's classic "Excalibur."

This “Best of the Year Thus Far” episode of Making Risk Flow brings together 11 standout conversations that map how insurance is being reshaped in real time. Across the conversations with AI leaders, risk modelers, and operators, a clear pattern emerges: the gap between leaders and laggards is widening, driven by speed of execution, not just strategy. Industry leaders explore how richer context, whether through spatial intelligence, stateful systems, or agentic workflows, is transforming underwriting from a static, data-driven exercise into a dynamic, decision-driven discipline. But technology alone isn't the answer. Culture, incentives, and human relationships remain critical to unlocking value. Together, these insights reveal an industry shifting from managing risk as a probability to understanding it as a living, evolving system.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

As Jacke and Emma get ready for the History of Literature Podcast Tour, they're revisiting some past interviews with special guests. In this episode, Jacke talks to the University of Oxford's Marion Turner about her book Chaucer: A European Life⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠patreon.com/literature⁠⁠ or ⁠⁠historyofliterature.com/donate⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠thepodglomerate.com/historyofliterature⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

What if real-time data and AI could transform compliance from a regulatory burden into a competitive advantage?In this episode of Making Risk Flow, Pierre-Henri Janssens, CEO and Cofounder of Topograph, joins host Jake Harding to rethink compliance in insurance from first principles. They discuss why treating compliance as a regulatory burden limits growth, while real-time data and transparent workflows turn it into a competitive advantage. Pierre-Henri explains how connecting directly to official registries improves data accuracy, how vertical AI enhances document extraction, and why prioritizing high-impact signals prevents data overload.The conversation also explores the build-versus-buy dilemma, the complexity of scaling across jurisdictions, and how orchestrating best-in-class solutions accelerates onboarding and improves conversion. It's a pragmatic look at how insurers can transform compliance into measurable business value.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

What if insurance workflows could evolve faster than regulation itself? In his third appearance on Making Risk Flow, Bryan Falchuk, best-selling author, speaker,  life coach and President and CEO of PLRB, joins host Jake Harding to rethink modernization of Insurance from first principles. They discuss why layering AI onto legacy systems only reinforces the iteration trap, while agentic AI enables carriers to redesign processes around real-time data orchestration. Bryan explains why implementation can shrink from years to weeks, how orchestration replaces brittle workbenches, and why design thinking is the unlock for cultural change. The conversation also explores the shifting role of underwriters and claims professionals, from data processors to strategic advisors. It's a clear-eyed look at how insurers can build adaptive, future-ready operations without wholesale system replacement today.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

Why do our greatest stories—Chaucer, Shakespeare, and even the Bible—include moments that feel . . . a little crude? In this episode, we make a surprising case: what we call "toilet humor" isn't just childish—it may actually serve a deeper purpose in storytelling. From the shocking story of Ehud in Judges, to Chaucer laughing at farts, to G. K. Chesterton reminding us to "take ourselves lightly," we explore how humor rooted in the body can humble our pride, reconnect us to reality, and remind us all that we're physical creatures with physical bodies. 

“Medieval psychology” might sound nearly a millennium out of date, irrelevant to modern science, with its reassurances of cognitive data and peer-reviewed studies. But we often say that Shakespeare's 400-year old plays communicate the human condition, and that wouldn't be possible if the Bard didn't have a deep understanding of what makes our minds tick. Rewind the clock just 200 years further and you'll find, with the help of a Middle English glossary, that the autobiographical writings of Julian of Norwich and Margery Kempe—not to mention Chaucer—seem achingly familiar in their yearning, their humor, and their determination. We're not so different, mentally, from our forebears, and beyond literature, medieval writings on morality and psychology have a lot to offer us. But since cracking open a vellum manuscript to read cramped Latin text is beyond most of us, historian Peter Jones can be our guide in his new book, Self-Help from the Middle Ages. And the starting point for much medieval guidance on living a better life is quite familiar: the Seven Deadly Sins, which were less a catalog of forbidden behaviors than a path to self-knowledge. Just ask Dante. Go beyond the episode:Peter Jones's Self-Help from the Middle Ages: What the Seven Deadly Sins Can Teach Us About LivingFor more about medieval women's religious experience of food, you can't do better than Caroline Walker Bynum's Holy Feast and Holy FastGuillaume de Deguileville's The Pilgrimage of Human Life, in scanned manuscript or translationBernard of Clairvaux's The Steps of Humility and Pride Thomas Aquinas's works are available online in a free side-by-side translationDon't sleep on the early Christian mystics: Julian of Norwich, Margery Kempe, and Catherine of Siena Tune in every (other) week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek and sponsored by the Phi Beta Kappa Society.Subscribe: iTunes/Apple • Amazon • Google • Acast • PandoraHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Hosted on Acast. See acast.com/privacy for more information.

Mount your horse and begin your journey to Canterbury with Emma and Ria as they dig into an excellent movie and extremely loosey-goosey adaptation of Geoffrey Chaucer's The Canterbury Tales—2001 cult classic A Knight's Tale! Must an adaptation of a 14 century book be accurate or can it not simply operate on vibes alone? Why is the fact Chaucer is one of the movie protagonists accurate to the book? Who's getting freaky in the Czech Republic on the weekend? All these questions answered and more in today's episode.  Content warnings for The Canterbury Tales includes: stories of violence, stories of rape, and 1390's typical racism, sexism, religious opinions, and fart jokes. Content warnings for A Knight's Tale (2001) includes: jousting violence, pre-9/11 crude humor, and a naked Paul Bettany. The articles Emma references in this episode can be found here: https://www.latimes.com/archives/la-xpm-2001-may-14-ca-63182-story.html https://www.theguardian.com/film/2026/feb/16/how-we-made-a-knights-tale-heath-ledger-paul-bettany-brian-helgeland https://www.theringer.com/2021/05/11/movies/knights-tale-heath-ledger-behind-the-scenes-stories-paul-bettany https://splicedwire.com/01features/bhelgeland.html You can find Emma on bluesky @crabmoney.bsky.social. Ria can be found on bluesky and twitter @ria_tee and on Instagram @riaeliza. Both Unnatural Selection and So Emo I Fell Apart are a part of the Moonshot Network. If you like what you've heard and want to support us, you can become a patron at patreon.com/moonshotnetwork The music for this show was commissioned from and composed by Jake Loranger. You can check out more of his work at https://amaranthine.bandcamp.com/

In this episode of Making Risk Flow: Exploring the Ecosystem, host Jake Harding sits down with Jay Wallace of VulnCheck about how real-time exploit intelligence is reshaping cyber insurance. They unpack why traditional CVSS scoring falls short and how modeling threat actor behaviour offers a clearer picture of risk. Jay explains how carriers can use machine-readable data feeds to automate underwriting and continuously monitor exposure post-binding. The conversation also highlights the value of proactive threat notifications in reducing claims and strengthening client trust. Jay and Jake also explore how AI and automation enhance, not replace, analysts, and why the most successful insurers are shifting from a profit-centric mindset to a partnership-driven approach focused on prevention, resilience, and long-term value creation.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

Professor and author, Jennifer N. Brown, discusses her new release, THE LOST BOOK OF ELIZABETH BARTON. The discovery of the lost book of Tudor era nun and prophetess, Elizabeth Barton, earns Allison an exclusive invite to an intimate conference of luminaries. But Elizabeth was killed for running afoul of the wrong people, and if Allison isn't careful, she may share her fate. “…prophecy, passion, and peril converge in a page-turning thriller…”―Patti Callahan Henry, New York Times bestselling author Listen in as we chat about why she chose to write about Elizabeth Barton's book, how some of the most notable seers of the past became powerful tools for others, and discover the very cool reason why she knows about moody manors in the English countryside! https://www.mariesutro.com/twisted-passages-podcast https://jennifer-brown.com ABOUT THE AUTHOR: Jennifer N. Brown is from New York City and after falling in love with Chaucer in college, pursued a Ph.D. in medieval literature. Her dissertation and subsequent books and articles have mostly been about devotional literature and medieval women as authors, subjects, and patrons of literary culture in medieval Europe. She has taught medieval literature at several institutions, most recently at Marymount Manhattan College where she taught in the English and World Literatures department for over 15 years. She is currently serving as the Dean of Arts and Sciences at Bentley University in Boston, where she lives with her husband, two children and two miniature dachshunds: Athena and Apollo.

MOVIE KNIGHT! Join Tom, Dan, and Sarah as they sally forth unto the WORLD CHAMPIONSHIPS OF JOUSTING in the 2001 live-action sports anime, "A Knight's Tale," the pre-Game of Thrones medieval fantasy that taught us even the lowliest peasant can change his stars, ignore the oppression of a feudal caste system, and make their dad proud if they just believe hard enough. Like a collection of Pilgrim's tales, this movie is greater than the sum of it's parts; this anachronistic period piece uses modern music and The Big Game sports vibes to tap into the melodrama of a rags-to-riches underdog story. Heath Ledger and Paul Bettany give it their all, screaming their passion at you with such unironic intensity that you will be stomp-stomp-clap-ing in your seat like any medieval peasant all jacked up on Queen. Contained within: Chaucer's literary contributions, uncooked pasta lances, and Famous Dan, real-life best friend of British C-tier celebrity.

In this episode of Making Risk Flow: Exploring the Ecosystem, host Juan de Castro sits down with Nicolas Zerbib, Co-President and CIO at Stone Point Capital, to unpack how AI is reshaping, not replacing, the insurance brokerage model. Nick explains why retention and complexity remain the strongest defenses against disruption, and how brokers can use AI to improve efficiency without losing their edge. From reducing operating costs to enhancing onboarding and preserving institutional knowledge, AI emerges as a powerful enabler rather than a threat. The conversation also highlights the structural advantages of the broker channel, including regulatory accountability and E&O risk, which AI cannot easily replicate. For brokers and investors alike, this episode offers a clear, tactical playbook for thriving in a rapidly evolving insurance landscape.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

Brixton Market, London... a concentrate of cultures.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! A lo largo de la historia contemporánea se repite un mismo patrón, el de individuos o grupos se erigen en guardianes de la moral ajena, detectan una amenaza (real o imaginaria), la amplifican y desatan persecuciones que dejan tras de sí carreras destruidas y vidas arruinadas. El arquetipo del censor moderno es Anthony Comstock, un puritano de Connecticut que, tras la Guerra Civil, emprendió desde Nueva York una cruzada contra la obscenidad. En 1873 logró que el Congreso aprobara una ley que llevaba su nombre y que prohibía el envío por correo de material considerado indecente. Armado con esa legislación deliberadamente vaga y respaldado por algunos magnates, fundó la Sociedad Neoyorquina para la Supresión del Vicio, que persiguió a médicos, editores, galeristas y dramaturgos. Presumió de haber provocado quince suicidios y arruinado casi 3.700 vidas. Incluso obras de autores clásicos como Aristófanes, Bocaccio o Chaucer sucumbieron, las de los autores contemporáneos sufrieron hostigamiento y censura. El espíritu censor de Comstock tuvo su eco años más tarde en Hollywood con el Código Hays, un sistema de autocensura que durante más de treinta años dictó lo que podía mostrarse en pantalla. Quedaron desterradas la homosexualidad, las relaciones interraciales y cualquier transgresión de lo que se consideraba la moralidad adecuada. Las cláusulas de moralidad en los contratos controlaban también la vida privada de los artistas. El macartismo reprodujo luego el mismo esquema: una amenaza difusa, un aparato institucional complaciente y el señalamiento de los “inmorales". Lo más inquietante es que el fenómeno no ha desaparecido, de hecho se ha amplificado y afecta ahora a ambos lados del espectro político. Las redes sociales han creado un ecosistema donde la indignación moral es moneda de cambio. Derecha e izquierda despliegan sus propias cruzadas moralistas. Unos retiran libros de bibliotecas, otros imponen criterios de género y raciales con cláusulas contractuales más severas que las de 1914. El mecanismo es idéntico al de los censores de la época de Comstock. A ello se debe responder con coraje, sentido común y humor frente al fanatismo de quienes pretenden silenciar la libertad de expresión. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! A lo largo de la historia contemporánea se repite un mismo patrón, el de individuos o grupos se erigen en guardianes de la moral ajena, detectan una amenaza (real o imaginaria), la amplifican y desatan persecuciones que dejan tras de sí carreras destruidas y vidas arruinadas. El arquetipo del censor moderno es Anthony Comstock, un puritano de Connecticut que, tras la Guerra Civil, emprendió desde Nueva York una cruzada contra la obscenidad. En 1873 logró que el Congreso aprobara una ley que llevaba su nombre y que prohibía el envío por correo de material considerado indecente. Armado con esa legislación deliberadamente vaga y respaldado por algunos magnates, fundó la Sociedad Neoyorquina para la Supresión del Vicio, que persiguió a médicos, editores, galeristas y dramaturgos. Presumió de haber provocado quince suicidios y arruinado casi 3.700 vidas. Incluso obras de autores clásicos como Aristófanes, Bocaccio o Chaucer sucumbieron, las de los autores contemporáneos sufrieron hostigamiento y censura. El espíritu censor de Comstock tuvo su eco años más tarde en Hollywood con el Código Hays, un sistema de autocensura que durante más de treinta años dictó lo que podía mostrarse en pantalla. Quedaron desterradas la homosexualidad, las relaciones interraciales y cualquier transgresión de lo que se consideraba la moralidad adecuada. Las cláusulas de moralidad en los contratos controlaban también la vida privada de los artistas. El macartismo reprodujo luego el mismo esquema: una amenaza difusa, un aparato institucional complaciente y el señalamiento de los “inmorales". Lo más inquietante es que el fenómeno no ha desaparecido, de hecho se ha amplificado y afecta ahora a ambos lados del espectro político. Las redes sociales han creado un ecosistema donde la indignación moral es moneda de cambio. Derecha e izquierda despliegan sus propias cruzadas moralistas. Unos retiran libros de bibliotecas, otros imponen criterios de género y raciales con cláusulas contractuales más severas que las de 1914. El mecanismo es idéntico al de los censores de la época de Comstock. A ello se debe responder con coraje, sentido común y humor frente al fanatismo de quienes pretenden silenciar la libertad de expresión. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This is the second of a series of posts about the literary alchemy of J. K. Rowling, a discussion jumpstarted by a post by ‘Iris' at a Strike fan website, an article that championed a Jungian perspective on this subject. The first post in this series, Literary Alchemy – A Primer for Those Interested in J. K. Rowling's Artistry, both explained what the ‘Iris' post asserted and reviewed much of the critical literature that the brevity of the S&E Files article prevented her from discussing. See that post for links to this material. The conversation between Nick Jeffery and John Granger above was recorded in the same spirit as the first post was written, namely, simultaneously a welcome to Strike fans and Rowling readers who have learned about literary alchemy only recently and an introduction to the work of the last twenty five years on this subject. Upcoming posts in the series will include a counter-point discussion in the debate Rowling is fostering about whether a psychological or spiritual perspective is better for understanding art and life and a review of the alchemical signatures that crowd Rowling-Galbraith's Hallmarked Man.This post is largely links to sources for points Nick and John discuss in their naturally enthusiastic and contrarian conversation, question by question. Enjoy!1. Welcome to the Conversation! (Nick) I just sent out an article about literary alchemy, John, in response to an article written by ‘Iris' and posted on the Strike-Ellacott Files website, a piece titled ‘What is Literary Alchemy? Spotting symbols that map Strike and Robin's growth.' What advice or guidance would you give to, say, Cormoran Strike readers who are brand new to the subject? * There are three types of alchemy and it is important to understand the common ground they share and the differences between them;* The first type is alchemy proper, which is to say ‘metallurgical alchemy,' the sacred science of purifying metals and the adept's soul via the creation of a Philosopher's Stone that will transform lead to gold and exude an elixir of life, the drinking of which will bestow immortality;* The second and third types of alchemy derive from interpretations of metallurgical alchemy's aims and the symbolic texts detailing the work in the hermetic laboratory;* Literary alchemy is the use of metallurgical alchemy's language, colors, sequences, and symbols in plays, poetry, and story to foster an edifying and transformative experience in the artist's theater or reading audience;* Psychological alchemy is Carl Jung's use of metallurgical alchemy's texts during and after WWII to illustrate his ideas of the integration of the conscious and unconscious aspects of the human mind;* Metallurgical alchemy was practiced in China, the Levant, India, and Europe within the revealed religious traditions of Hinduism, Buddhism, Judaism, Islam, and Christianity until its degeneration in the late Medieval period and eventual evolution into the strictly materialist chemistry we know today;* Literary alchemy has been a continuous stream in literature from Dante, Chaucer, Shakespeare, and the Metaphysical poets through to Dickens, Yeats, the Inklings, Joyce, Nabokov, and J. K. Rowling;* The academic study of “alchemy in literature” was the province of Baconian and allegorical readings of Shakespeare (cf., Beryl Pogson, Peter Dawkins, Martin Lings) until the late 20th Century and the advent of academic specialists in ‘Hermetic Studies,' e.g., Stanton Linden, Lyndy Abraham, and Charles Nicholl (cf., Cauda Pavonis: A Journal of Hermetic Studies, 1982-2000).* Jung and his followers used their psychological interpretations of metallurgical alchemy as allegories of the soul to interpret mythology (cf., Erich Neumann, Marie-Louise Von Franz, Robert Johnson);* Jungian analysis of story using Jung's ideas of subconscious archetypes within a collective unconscious was popularized by Joseph Campbell in his guides to Joyce's Ulysses and his more well known works on mythology (e.g., The Hero With a Thousand Faces);* ‘Isis' in her S&E Files article, ‘What is Literary Alchemy?,' suggests that Rowling-Galbraith is writing an allegory of soul transformation in the Cormoran Strike series using metallurgical alchemy's symbols and sequences as understood by Carl Jung and his disciples rather than as used by English writers since the 13th Century;* It's a challenging theory, the depth of which is hard to grasp without an appreciation of the types of alchemy, what they have in common, and their differences in approach and subject matter.2. The Lake: (John) What I found most fascinating in your post, Nick, was your best guesses about where Rowling would have learned about literary alchemy. She claimed in 1998 that she'd read a lot of alchemical texts from which she set the “magical parameters” of the Hogwarts Saga; if you had only three chances to name one of those books, what would you choose? * Charles Nicholl's The Chemical Theatre;* Titus Burckhardt's Alchemy: Science of the Cosmos, Science of the Soul (or Mirror of the Intellect: Essays on Traditional Acience and Sacred Art);* Lyndy Abraham Summerhaze's Marvell and Alchemy or her Dictionary of Alchemical Imagery;* Martin Lings' The Secret of Shakespeare3. Carl Jung, Alchemy: (Nick) I see you're chafing at the bit, John, with book titles I haven't mentioned so let me name-drop the author not on my list because, as you pointed out, he wasn't really a literary alchemist so much as a psychologist who discussed alchemy as a means of illustrating his own ideas about the ‘Great Work.' You've written, though, that literary alchemy as with metallurgical alchemy is a subset of soul-allegories or Psychomachia. Don't Jung's ideas jibe with that? * Yes and no!* Jung's ideas of the soul and archetypes (or archetypal forms) are based on late 19th Century Volkischer German ideas, which is to say, modern and materialist (some say ‘vitalist') premises. His hostility to Christianity and Judaism was grounded in his acceptance of Darwinian evolution and derived philosophically from Nietzsche (see Richard Noll's The Jung Cult and The Aryan Christ).* He conflates the spiritual with the psychological, consequently, and embraces integrated individual psychological health as the telos of human existence, none of which is consistent with traditional metallurgical or literary alchemy (see Titus Burckhardt's Mirror of the Intellect, Philip Sherrard's ‘An Introduction to the Religious Thought of C. G. Jung,' and Harry Oldmeadow's ‘C.G. Jung & Mircea Eliade: ‘Priests without Surplices'? Reflections on the Place of Myth, Religion and Science in Their Work.'* Psychological alchemy, insomuch as it is ‘Jungian,' is well removed from the other two types of alchemy. Which is not to say that Rowling is not a Jungian and hence a Jungian psychological alchemist.4. Back into the Lake: (John) You covered in your article, though, Nick, the several reasons to think it possible, even probable that the evidence from Rowling's life suggests she is using Jungian ideas in her literary alchemy. Iris over at S&E Files obviously thinks that is the case. What are the for and against ideas with respect to Rowling being a Jungian? There's Plenty of Evidence That Rowling IS a Jungian Writer:John Granger's discussion in Troubled Blood: A Jungian Reading* Robin's name-dropping Jung in conversation about astrology;* The Jungian notes sounded throughout Strike 5: Archetypes, Synchronicity, Persona;* The connection between Jung's illustrated ‘New Book' and Talbot's ‘True Book;' and* Pointers to Cupid-Psyche myth as understood by Jungians (see below)The Advent of Prudence Dunleavy, Jungian Psychologist, in Ink Black Heart* Hard to imagine a more sympathetic portrait of a Jungian than half-sister Prudence!* She clearly was the genius behind the Rokeby reconciliation in Hallmarked ManThe Cupid and Psyche myth underpinning the Strike series* A Mythological Key to Cormoran Strike? The Myth of Eros, Psyche, and Venus (note the discussion here of the Jungian understanding of this specific myth)* Ink Black Heart: Strike as Zeus to Robin's Leda and as Cupid to Mads' Psyche* ‘Rowling Points to Myth of Cupid and Psyche in order to Console Strike Fans Disappointed with Hallmarked Man‘* The Hallmarked Man‘s Mythological Template (Nick Jeffery, John Granger)Anything Else? Oh, yeah —* Rowling studied mythology in her ‘Classical Studies' program at UExeter and almost certainly encountered Jungian interpretation of myths there (e.g. the work of Neumann, Johnson, Campbell).* Rowling told Val McDermid if she had not become a successful writer she would have sought training and certification as a psychologist. * Her work reflects a broad reading in psychology (cf., Louise Freeman Davis' ‘J. K. Rowling and the Phantoms in the Brain,' ‘Cormoran Strike and the Itch that Cannot Be Scratched') and it is likely that she has read her fair share of Jung and Jungian authors during her studies.* Rowling benefited from psychological therapy and exercises herself when suffering from depression, the experience of and recovery from which she depicted in story via the Azkaban Dementors and Robin Ellacott's treatment for PTSD in Lethal White.And There is Plenty of Evidence That Rowling Is NOT a Jungian Writer:* Rowling has never been asked or revealed how she learned about literary alchemy; this includes, of course, any reference to Carl Jung, whose work was not focused on literary alchemy per se but a psychological interpretation or explanation of metallurgical alchemy's symbolism.* All that Rowling has revealed about her experiences as a patient seeking help with depression are about Cognitive Behavior Therapy (CBT), which treatment modality owes nothing to Jung or to Jung's students.* It is possible that Rowling encountered esoteric metallurgical alchemy, the precursor to literary alchemy, in her study of astrology, the complementary traditional sacred science to alchemy, a skill-set with which we know she was accomplished. That route to alchemy would have led her to Perennialist interpretations of alchemy, most notably Titus Burckhardt‘s Alchemy, Science of the Cosmos, Science of the Soul; the paperback cover of the Penguin Metaphysical Library edition of that book (1974) features an androgynous giant named REBIS standing on a dragon and a winged golden sphere (i.e., Rubeus, Norbert, Snitch).* As mentioned above, it is more likely that she encountered literary alchemy in her study of Shakespeare. The year she was studying for her A Levels, she traveled to see a production of King Lear which has prompted the idea that it was on her list of texts to prepare for her tests. The most challenging interpretation of Lear then in print was Charles Nicholl's The Chemical Theatre (1980), a book that explains almost every scene in perhaps Shakespeare's greatest tragedy as a parallel step in the Great Work of alchemy. If the budding astrologer was fascinated by this allegorical interpretation of the Bard, the most popular work in print at that time that championed reading Shakespeare as the author of soul allegories was Perennialist Martin Lings‘ The Secret of Shakespeare (1984).* Literary Alchemy is a tool set employed not only by Shakespeare but by a host of Rowling favorite authors to include Dickens, Nabokov, Lewis, and Tolkien. This view of alchemy, that is, as an allegorical depiction of the soul's transformation that affects that same cathartic experience in its theater or reading audiences, is the one found in Rowling's work, which is well removed from psychological alchemy, an analytic art which, though it springs from metallurgical alchemical texts, does not aim at the transformation at work in the sacred art or the science of traditional alchemy. * Rowling's use of chiastic structures and psychomachian allegory, tools that complement literary alchemy in spiritual perspective and aim, make a Jungian rather than a literary and Perennialist view of alchemy seem unlikely.* Alchemy: Jung, Burckhardt, or Maclean? John Granger, April 2007* Rowling's Soul Triptych Psychomachia: Is It From Shakespeare's ‘Macbeth'? John Granger, September 20245. The Debate at King's Cross: (Nick) So, John, you've mentioned Jung quite a few times in your posts about the Mythological framework of the Strike series and even written about the Jungian ideas of animus and anima with respect to Cormoran and Robin's relationship. You seem fairly confident, though, that Rowling is writing from the traditional esoteric ideas of alchemy a la Shakespeare rather than Jung's. Why is that? * Everything you just said!* As noted, Jung's ideas are modern and psychological while the stream of literary alchemy in English Literature is almost exclusively more Medieval and pointedly spiritual;* The Most Notable Exception: Angela Carter's The Passion of the New Eve (1977), that reads like a Jungian ‘Red Book' slide-show (think Bombyx Mori) or a transgender Odyssey written for feminists. Rowling has never mentioned her to my knowledge but it would be surprising if she hadn't read this book more than once. What Alana Bolton Cooke wrote about Carter's Passion could be said about Rowling's literary alchemy if she is a Jungian writer (or about Galbraith's fictional Elizabeth Tassel?):Angela Carter in The Passion of New Eve (1977) uses the exoteric phases of alchemy and Carl G. Jung's theory of esoteric alchemy as a means of demonstrating allegorically the idea ofrebirth and renewal. The purpose of this allegorical method is to produce an 'alchemical' change of thought in the reader about sexuality and gender associated with women's repression and liberation. In the novel Carter develops themes and ideas explored in her essay, The Sadeian Woman: An Exercise in Cultural History (1979), an analysis of the Marquis de Sade's pornography and its affect on the roles of men and women in society. The clash of opposites involved in combining alchemical symbolism, feminism and pornography within the fiction can be seen as representative of the state of chaos present in alchemy before the beginning of change. The circular narrative and alchemical structure of the fiction creates a literary version of the alchemical process as it brings together opposites involved in chaos, represented by events and characterisation that the protagonist, Evelyn/Eve, experiences, until, in the manner of alchemy, harmony is reached. The harmony created represents women's empowerment. Carter uses Evelyn's individuation process to encourage growth within the reader by altering patterns of thought to bring about change through self-confrontation and self-knowledge. The structure of Carter's fiction, thus, corresponds to the process of esoteric alchemy contained within the structure, imagery and symbolism of exoteric alchemy. The fiction is designed to stimulate the unconscious of the reader and make conscious hitherto unknown and repressed thoughts about gender and sexuality to bring about change in the lives of men and women.* I think what Rowling said she was trying to do with Harry Potter's meeting with Dumbledore at the dream-like King's Cross strongly suggests she is aware of the two approaches and wants readers to discuss them – but that she has made her own choice, however conflicted she may be.* In her 2008 interview with Adeel Amini, Rowling said that her hope for Harry's post-mortem conversation with Dumbledore at King's Cross was to stimulate “a debate” among readers about whether it was a psychological moment, that is, a fantasy in which Harry understands what he's been missing all along, or a spiritual event in which he is actually speaking with the late Headmaster:Enough Potter-plot, I think. Moving on to a slightly more contentious issue, Rowling has categorically said that she does believe in a higher power, a statement reinforced by her childhood church-going (“Till I was 17,” she clarifies). It must be difficult to reconcile her religious beliefs with those that denounce Harry Potter as anti-Christian, I wonder aloud. Rowling's expression does not change a fraction. “There was a Christian commentator who said, which I thought was very interesting, that Harry Potter had been the Christian church's biggest missed opportunity. And I thought, there's someone who actually has their eyes open.“I think he said it before the publication of the seventh book, and with the publication of the seventh book I think that clarified a lot of people's view on where I was standing. But I should emphasise that I am not pushing a specifically Christian agenda, and indeed till the very last moment in book seven, one can interpret what happens to Harry after he presents himself with death as him going into an unconscious state in which his subconscious reveals to him what he already knew.” I hum in faux-comprehension of what she's referring to; luckily my clued-in companion is nodding wildly. Proceed. “Any re-reading of Chapter 35 will show you that there's nothing that the Dumbledore he sees tells him that he couldn't have guessed for himself or already realised, and of course there's a key piece of information that Dumbledore doesn't articulate that Harry has realised. So you can deliberately interpret it that way, or you can say that he did go into a state of limbo beyond which there was another life, and that idea was expressed repeatedly, and most explicitly at the end of book five, Order of the Phoenix, where Harry understands that there is an ‘on', that you do go on. “I wanted there to be a debate there, so of my three main characters - when they come into the room which examines death at the Ministry of Magic - Hermione, the ultimate sceptic and a hyperrational person, hears nothing behind the veil and is scared of it. Ron is just uneasy; Ron is someone who does not grapple with anything deeper than beer, if he can avoid it. Harry's drawn to it, and therein lies Harry's slightly reckless, almost morbid streak, because Harry does have a hint of that dangerous adolescent trait which is the attraction to death.” Heavy. Obviously with this ambiguity, you do get a fair degree of misinterpretation as well; there is a certain section that does dislike Harry Potter intensely. “Oh, vehemently,” says Rowling, before muttering under her breath “…and they send death threats.”* I think that “debate” she's trying to foster is between the psychological, call it ‘Jungian' “just inside your head” subconscious perspective, and the authentically spiritual view of her work (well, of art and human existence, too, of course). And that this debate is one she has had for most of her life. Check out her comments about the “greatest missed opportunity” and explain to me how that doesn't line up with her preferring the spiritual, albeit “not explicitly Christian,” to the psychological and humanist. 7. Jungian Readings of Rowling's Work: (Nick) John, you're familiar with what has been written by Potter Pundits because of your PhD critical literature surveys; what are the better ones about Rowling and Jungian psychology and what do they emphasize? Here are seven off the top of my head (and Thesis ‘Works Cited' drafts):* Grynbaum, G.A. (2000). The Secrets of Harry Potter. The San Francisco Jung Institute Library Journal: Reviews From a Jungian Perspective of Books, Films and Culture, [online] 19 (4) pp. 17-48* Patrick, Christopher and Sarah (2007), ‘Exploring the Dark Side: Harry Potter and the Psychology of Evil,' in Mulholland (ed.), The Psychology of Harry Potter, BenBella Books, pp 221-232* Gerhold, C. (2011). The Hero's Journey Through Adolescence: A Jungian Archetypal Analysis of “Harry Potter.” PsyD. The Chicago School of Professional Psychology. * Rectenwald, Bob (2019). ‘Carl Jung's Impact on the Work of J. K. Rowling' * Skipper, Alicia and Kate Fulton (2021) ‘Out from the Shadows into the Light: Persona and Shadow in Harry Potter‘ in Anne Mamary (ed.) The Alchemical Harry Potter: Essays on Transfiguration in J. K. Rowling's Novels, McFarland, Jefferson, NC, 2021, pp 79-96* The Unfolding Journey, Jung's Shadow Self in Harry Potter: Confronting the Darkness Within (YouTube video)* My own Troubled Blood: A Jungian ReadingBob Rectenwald's piece is the best of the six I didn't write but it shares the several faults all the Jungian pieces make:* the first failing of even the best Jungian readers is the assumption that Rowling is a Jungian, which is an open question;* the next is that Jung's ideas (and Joseph Campbell's) are indisputably true; and* the last is, when alchemy is mentioned, the critics do not clarify either the commonalities of or the differences between literary alchemy, psychological alchemy, and Jungian analytic psychology. * Note, though, that Rowling, while aware of such Jungian tropes as the Hero's Journey, tweeks it shamelessly, adding a symbol of Christ and resurrection scene in every Potter story (cf., How Harry Cast His Spell, ‘The Harry's Journey,' pp 21-28).* Read her brief PotterMore piece on alchemy and note that it is written in such a way that it can be read as confirmation of either a psychological or spiritual perspective on alchemy and art:One interpretation of the ‘instructions' left by the alchemists is that they are symbolic of a spiritual journey, leading the alchemist from ignorance (base metal) to enlightenment (gold). There seems to have been a mystical element to the work the alchemist was engaged upon, which set it apart from chemistry (of which it was undoubtedly both an offshoot and forerunner).This “original writing” by Rowling, especially the words “spiritual” and “mystical,” suggests that she is a Perennialist rather than a Jungian, at least with respect to her understanding of alchemy. But the debate is still possible with Jungians who read those words as cyphers for the subsconscious contact they hold we have with archetypes.8. Back to the Alchemy: (John) I think the real question of whether Rowling's literary alchemy is predominantly literary and spiritual or psychological in orientation comes down to the postmodern confusion about the immaterial aspects of the human person, which is to say, the soul (or mind, psyche) and the spirit. Rowling's recent work may seem prosaic or secular to a casual reader who compares it to the relatively otherworldly and “obviously” symbolic Potter books, but she loads each Strike book with Shakespearean romance of soul and spirit, i.e., alchemical dramas, and hermetic tropes. I'm writing a piece now about the lions, dogs, incest, and the red man and white woman in Hallmarked Man, each of which are touchstones of alchemy. I think, though, that your work with Rowling's favorite books and her epigraph sources, Nick, point to a strong spiritual rather than psychological foundation in Rowling's work —* Louisa May Alcott, Little Women* Dodie Smith, I Capture the Castle* The Victorian Women Poets in Running Grave* Elizabeth Barrett Browning, Aurora Leigh* Robert Browning, The Ring and the Book* The Jungian love of the I Ching, Running Grave's epigraph source9. Jung in Running Grave: (Nick) Rowling's favorite writers, from Shakespeare and Nabokov to C. S. Lewis and Victorian Women poets, all clearly believe in a world-transcending spiritual realm. Given the quantity of the Jungian scholarship in Rowling Studies that Iris referred to and you've mentioned, it's curious -- if Rowling is aware of it and is resistant to it -- that she doesn't push back against it explicitly in her work. Can you think of a character that seems something like Jung in the books, someone as bad as Prudence Dunleavey is good? I can think of three:* United Humanitarian Church's guru Jonathan Wace in Running Grave: his “psychologizing of religion,” the comparative religion avenue to denial of any true faith, the psychological critical analysis of a patient using mythological tropes (”Artemis”), the cult leader, and the abuser of women and children -- he's a ringer for Jung! * Paul Satchwell, one-eyed serpent with a one-track mind, in Leamington Spa, a true Jungian artist working psycho-sexual motifs graphically on canvas:Naked figures twisted and cavorted in scenes from Greek mythology. Persephone struggled in the arms of Hades as he carried her down into the underworld; Andromeda strained against chains binding her to rock as a dragonish creature rose from the waves to devour her; Leda lay supine in bulrushes as Zeus, in the form of a swan, impregnated her.Two lines of Joni Mitchell floated back to Robin as she looked at the paintings: “When I first saw your gallery, I liked the ones of ladies…”Except that Robin wasn't sure she liked the paintings. The female figures were all black-haired, olive-skinned, heavy-breasted and partially or entirely naked. The paintings were accomplished, but Robin found them slightly lascivious. Each of the women wore a similar expression of vacant abandon, and Satchwell seemed to have a definite preference for those myths that featured bondage, rape or abduction. (Troubled Blood, 542)* And then there are the Masons, kind of an old school Jungian cult in Hallmarked Man. Like the UHC and “harmless” fraternal and charitable group with Christian touches but which doesn't change a man or human nature per Hardacre (and which harbors the rich and powerful like Lord Branfoot). * Coupled with Prudence, the Front of Jungian Beliefs, we get the front and back of Jung in Rowling's work, a characteristic touch of Rowling nuance as she did with Islam in Hallmarked Man.10. Conclusion: (John) I'm obviously not a Jung fan and I don't think Rowling is writing Jungian psychomachia in alchemical symbols a la Angela Carter, but I see how people would come to a contrary conclusion; Rowling's ‘spiritual not religious' public statements and political positions with respect to Same Sex Attraction and abortion line up much more easily with New Age and Jungian types than with any kind of orthodox Christianity. The great thing about essays like Isis' at S&E Files is that it brings more people into the conversation of what literary alchemy is and the various approaches to it. You've been reading about literary alchemy for several years now, Nick; what do you think the person whose first encounter with the subject was the S&E Files article do to hone their alchemy detection skills? * “Read your books and online talks, John!”* How Metallurgical Alchemy Worked and How it Became Literary Alchemy (from Deathly Hallows Lectures, Chapter 1):Alchemy, in a nutshell, was the science for the perfection or sanctification of the alchemist's soul. This heroic venture I need to say straight off is all but impossible today because the way we look at reality, at ‘things' per se makes the Great Work itself almost an absurdity. Unlike the medieval alchemists, we moderns and postmoderns see things with a clear subject/object distinction, that is, we believe that you and I and that table are entirely different things and between them is there is no connection or relation. The knowing subject is one thing and the observed object is completely ‘other.'To the alchemist that is not the case. His efforts in changing lead to gold are based on the premise that he as the subject will go through the same types of changes and purifications as the materials he is working with. In sympathy with these metallurgical transitions and resolutions of contraries, his soul will be purified in correspondence as long as he is working in a prayerful state within the Mysteries (sacraments) of his revealed tradition.Now, historically there was an Arabic alchemy, a Chinese alchemy, a Kabbalistic, as well as a Christian alchemy; each differs superficially with respect to their spiritual traditions but in every one, the alchemist was working with a sacred natural science or physics to advance his spiritual purification. This was only possible because he looked at the metal he was working with as something with which he was not ‘other' but with which he was in relationship, artifex and artifact in sacred art imitating and accelerating the work of the Creator creating a bridge, so that, as lead changes to gold or material perfection, his soul was going through similar transformations and purifications.The common ground is the logos in every created thing, to include persons (cf. John 1:9), which are all continuous with the Logos fabric of reality. As much as the alchemist identifies with this metaphysical ground, purifying himself of the ‘old man' or ego-driven individual and identifying himself with the spiritual Heart or light within him, that light will become his dominant quality, hence his “illumination” or “enlightenment”. And lead or solid darkness turning into gold, hard light.How does this edifying magic become the scaffolding for Harry's adventures? Largely through the genius of William Shakespeare. Hermetic wisdom and alchemical efforts were such commonplaces in Elizabethan England that Shakespeare and his contemporaries recognized, I think. that the magic of staged drama is essentially alchemical. If we groundlings are all watching what's going on up on the stage and everything is working the way it's supposed to, the subject-object distinction dissolves inasmuch as we identify with the characters and their agonies through our logos-imaginations. As they go through their changes, like the metals in a crucible, we identify with them and pass through the same cathartic moment.As the great dramatists of that period realized, “if what we're doing is alchemical, why don't we use alchemical imagery and language, too?” And, voila, literary alchemy is born. This stream of English literature in which narrator or characters and the reader or audience in correspondence pass through the stages of the alchemical work, the black the white and the red (basically dissolution, purification, and then perfection) runs through the next five centuries of poetry, stage work, stories and novels. You may not have recognized it, but its a big part of things you have read.* Literary Alchemy: Sacred Science, Sacred Art, and ‘The Alembic of Story':A Perennialist Explanation of J. K. Rowling's Signature Hermetic Symbolism This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

In this episode of Making Risk Flow: Exploring the Ecosystem, host Jake Harding speaks with Nick Franz, founder of Altitude Intelligence, on why traditional underwriting data can obscure true risk exposure. Due to his background in intelligence, Nick has asked that we protect his identity. Nick shares how geospatial and spatial intelligence, rooted in military tradecraft, can transform insurance decision-making. They explore why risk must be understood as a dynamic system, not a static label, and how embedding context at data ingestion enables faster, more accurate underwriting. From identifying hidden dependencies to avoiding outdated datasets, the conversation reveals how leading insurers are building a durable competitive edge. The takeaway is clear: those who integrate intelligence-driven insights today will outperform, while others risk compounding losses and blind spots.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

Today's guest is Richard Milner, CEO of Chaucer Group. Chaucer is a global specialty insurance and reinsurance institution with a great pedigree and significant scale, both inside and outside the Lloyd's market. Richard is coming up for two years in post as CEO and is beginning to make his mark on the business's long-term strategy. Richard has had the sort of underwriting career that makes him a very relatable guest. He worked his way up from photocopying slips at a Lloyd's box to travelling the insurance world. Now he's in senior management he's easy to talk to because he's still unambiguously an underwriter to his core. As a result this interview is really down-to-earth and practical in focus. In it Richard lays out his five-year plan for Chaucer and we dissect the issues of the day in great detail and variety, ranging from how rates and business flows are holding up in a more competitive market, to an assessment of AI as a new emerging peril and potential new line of business. Richard is great company and I can highly recommend a listen. LINKS: We thank our naming sponsor AdvantageGo: https://www.advantagego.com

In this episode of Making Risk Flow: Exploring the Ecosystem, host Juan de Castro speaks with Sam Lewis, VP of Product, Engineering, and Data at Cytora, about how agentic AI is reshaping insurance workflows. They explore the shift from manual, fragmented processes to seamless, stateful systems that use memory and context to manage end-to-end submissions. Sam explains why the real barrier to digitization has been behavioral, not technical, and how designing for zero workflow disruption drives adoption among brokers. The conversation unpacks how AI agents increase underwriting capacity, improve responsiveness, and enable more consistent risk selection. They also discuss routing submissions intelligently, closing data gaps through enrichment, and freeing underwriters to focus on judgment-based decisions. The result is a more scalable, efficient, and accessible insurance ecosystem powered by always-on automation and intelligent orchestration.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes:The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek MasojadaImplementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

1168. This week, we look at the word "leprechaun" and its surprisingly wild origin story involving shoemaking, ancient Rome, and wolf-men. Then we look at the word "equinox": its Chaucer connection, the newer word "equilux," and why the first point of Aries is actually in Pisces now (and headed for Aquarius).

In this episode of Making Risk Flow: Exploring the Ecosystem, host Jake Harding speaks with Jon Francis, Chief Product Officer at Chimnie, about why the future of property insurance underwriting depends on transparent, high-quality data. Jon explains how flawed or overly averaged property data can distort rebuild cost models, misprice risk, and ultimately drive adverse selection across insurance portfolios. He outlines practical methods for validating external data providers at scale, including large-volume testing to uncover hidden discrepancies that vendor samples often miss. The conversation also introduces a structured approach for transitioning to more accurate data systems while maintaining internal trust and regulatory confidence. From uncovering edge-case property characteristics to enabling frictionless quote journeys, Jon shows how granular property intelligence can become a powerful competitive advantage for insurers willing to modernize their risk data infrastructure.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes: The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo 20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek Masojada Implementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

In this session's ComixLaunch Pro spotlight, Clay Adams interviews David Chaucer La Forest, an African-American disabled veteran, award-winning poet/author, and founder of Asani Entertainment, about building an Afrocentric shared fantasy universe rooted in positive representation.

In this episode of Making Risk Flow, host Juan de Castro speaks with Bill Harris and Drake Slaikeu-Lawhead of ITC Vegas about how insurance growth hinges less on tools and more on connection. They explore how Insurtech Connect's “neighbourhood” model helps carriers, brokers, and agents navigate 700+ vendors by organising solutions around real business needs. The conversation dives into AI's impact on distribution, streamlining ACORD processing, claims, and upstream risk transfer, while reinforcing that independent agents remain essential for trust-based advice. As pilots shrink from years to months, speed to impact becomes the new competitive edge. Yet in a digital-first era, they argue that face-to-face interaction still drives the most valuable outcomes. Serendipity, not just software, is what truly keeps risk flowing.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes: The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo 20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek Masojada Implementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

In this episode of Making Risk Flow, host Jake Harding speaks with Bryan Falchuk, author of the Future of Insurance series, about why insurance's next competitive edge lies in intelligence, not efficiency. Bryan argues that carriers focus too heavily on operational optimisation when profitability depends on understanding and managing loss ratios. He introduces the “how might we” mindset as a way to break through cultural resistance and reframe constraints as opportunities. The conversation explores AI as a bridge between legacy systems and modern analytics, enabling transformation without massive system overhauls. Bryan also examines how misaligned incentives, complacency, and leadership hubris quietly undermine long-term strategy. Ultimately, he makes the case that curiosity, humility, and proactive risk intelligence will define the insurers that thrive in an era of rapid technological change.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes: The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo 20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek Masojada Implementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

Greg Jenner is joined in medieval England by Professor Marion Turner and comedian Mike Wozniak to learn all about Geoffrey Chaucer, author of the Canterbury Tales. Since the fifteenth century, Chaucer has been referred to as the father of English literature. He was one of the first authors to champion the use of Middle English for poetry instead of Latin, and after the invention of the printing press, his works became the foundation of the English literary canon – long before Shakespeare ever put quill to parchment. But Chaucer's life was as extraordinary as his legacy, living as he did through the Black Death, the Hundred Years' War between England and France, and the Peasants' Revolt. In this episode, Greg and his guests explore Chaucer's dramatic biography: growing up the son of a wine merchant in fourteenth-century London, his work for the royal court and long career as a medieval civil servant, his relationship with John of Gaunt through his mistress Katherine Swynford, and his travels throughout Europe. They also examine the poets that influenced him – including Petrarch, Bocaccio and Dante – and take a deep dive into the famous Canterbury Tales. If you're a fan of medieval literature, historical courtroom dramas, and the tumult of fourteenth-century England, you'll love our episode on Geoffrey Chaucer. If you want more literary history with Mike Wozniak, listen to our episodes on Charles Dickens at Christmas and the Legends of King Arthur. And for more fourteenth-century lives, check out our episode on medieval Muslim traveller Ibn Battuta. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Rosalyn Sklar Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

In this episode of Making Risk Flow, host Juan de Castro speaks with David McMillan, former CEO of esureGroup, to unpack how a mid-sized insurer reinvented itself under private equity ownership. Facing COVID-19, reserve pressures, a soft market, and geopolitical disruption, the company leaned into culture, clarity, and modern technology to outpace larger rivals. David shares why building a high-performing team starts with shared values, how blending insurance expertise with external digital talent accelerates innovation, and why cloud-native, API-driven architecture is essential for real-time decision-making. He also explains how to shift boards from traditional ROI forecasts to agile, outcome-based governance. It's a candid conversation about resilience, leadership under pressure, and why staying smaller, more agile, and hence, faster can be a lasting competitive advantage.Fan Mail: Got a challenge digitizing your intake? Share it with us, and we'll unpack solutions from our experience at Cytora.To receive a custom demo from Cytora, click here and use the code 'Making Risk Flow'.Our previous guests include: Bronek Masojada of PPL, Craig Knightly of Inigo, Andrew Horton of QBE Insurance, Simon McGinn of Allianz, Stephane Flaquet of Hiscox, Matthew Grant of InsTech, Paul Brand of Convex, Paolo Cuomo of Gallagher Re, and Thierry Daucourt of AXA.Check out the three most downloaded episodes: The Five Pillars of Data Analytics Strategy in Insurance | Craig Knightly, Inigo 20 Years as CEO of Hiscox: Personal Reflections and the Evolution of PPL | Bronek Masojada Implementing ESG in the Insurance and Underwriting Space | Simon Tighe, Chaucer, and Paul McCarney, Moody's

There's a reason hearing your mother's voice can feel different from hearing anyone else's — even when it's just a phone call. This episode opens with the surprising effects researchers have discovered. https://www.psychologytoday.com/us/blog/the-psychology-of-relationships/202104/two-key-reasons-why-you-should-call-your-mom Guilt feels terrible — and that's exactly what makes it so effective. While we tend to see guilt as something to avoid, it may actually play an essential role in helping us learn, repair relationships, and behave more ethically. Christopher Moore explains why guilt exists, how it evolved, and why feeling guilty can sometimes be a very good thing. Christopher is a professor of psychology and former dean of science at Dalhousie University, whose work has been cited in Psychology Today, Today's Parent, and The New York Times. He is author of The Power of Guilt: Why We Feel It and Its Surprising Ability to Heal (https://amzn.to/3Nrt051). Plagiarism seems like a clear-cut wrongdoing — but the reality is far more complicated. People plagiarize more often than you might think, sometimes without even realizing it. And in some cases, you can be accused of plagiarism even if you've never seen the original work. With only so many ways to tell a story or write a song, where does coincidence end and plagiarism begin? Roger Kreuz joins me to explore this fascinating gray area. He is Associate Dean and professor of psychology at the University of Memphis, a columnist for Psychology Today, and author of Strikingly Similar: Plagiarism and Appropriation from Chaucer to Chatbots. (https://amzn.to/4soVFaS). And finally, there's a widespread belief that dark roast coffee has more caffeine than light roast — or that espresso packs far more caffeine than a regular cup of coffee. Both ideas sound logical, but they're not quite right. We wrap up by explaining what actually determines caffeine content and why these myths persist. https://www.healthline.com/nutrition/light-vs-dark-roast-coffee Learn more about your ad choices. Visit megaphone.fm/adchoices