Podcasts about Circe

This is one of the slower Saturday episodes—no announcements, no news. Just a piece of the book I'm writing, read and thought through out loud.It starts on Circe's island, where Odysseus's men have already been turned into pigs. It passes through Dante's hell, where the greedy push boulders forever, and through Midas's palace, where a father reaches for his daughter and finds cold metal. And it ends somewhere closer to home: the quiet withdrawal, the measured non-engagement, the parts of ourselves we've decided are too valuable or too vulnerable to share.Because here's the thing about Avarice: in its deepest expression, it was never about gold. It's a misdirected search for transcendence. We're not hoarding money, we're hoarding self. Time, warmth, attention, the willingness to be known. And the endpoint of all that protecting isn't wealth. It's isolation.Two questions sit at the center of this one:What are you unwilling to give? And what is that withholding costing the people who need you?If the episode does something to you, here's the assignment, which is also the argument: share it with one person you've been quietly withholding from.—ChadP.S. — Monday's episode is different. I have an announcement about the press, about what we're building, and about how you can be part of it. It's the most excited I've been about anything in a while. Come back Monday. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

This week Zach and Mike cover "The Lady and the Lion" . A Silver Age Superman story in which the Man of Steel gets roofied by an alien sorceress named Circe who drugged his mineral water because he politely declined her marriage proposal. The serum turns him into a lion by dawn because, as Circe helpfully explains, Superman most resembles a lion by nature. Nobody questions this logic.What follows is Superman, now a fully lion-headed man in a cape, trying to continue living his life. He takes Lois Lane to the theater. He performs for orphan children by letting them stick their heads in his mouth. He flies to Africa, breaks up a lion bully situation, and accidentally gets elected King of the Lions. He does all of this with a rope for a tail. He is very sad about it.Also: Lois Lane kisses a lion. It doesn't work. Perry White sits on the scoop of the century because he's actually a decent guy. And Circe, who committed multiple crimes and fled the planet, faces zero consequences because Superman figured out the antidote on his own using Kryptonian library records. Circe is still out there.#superman #dccomics #silverage #actioncomics #brosfoesandheroes #superhero #comics #loislane #comicbooks #dc Thank you to our sponsors! Click on them below:puzzle.io : https://puzzleio.pxf.io/3J0Y4yMagikFlame: https://magikflame.pxf.io/K0dgQvHello Cake: https://cake.sjv.io/kOoEjvSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hoy en La diez Capital Radio nos acompaña Ricardo Fernández de la Puente, director de Relaciones Institucionales de Loro Parque, que nos hablará sobre la gala benéfica de Loro Parque Fundación que tuvo lugar la semana pasada en Poema del Mar, en beneficio del proyecto Sofía Net. La recaudación de la velada impulsará el proyecto 'SOFIANet', una alianza estratégica entre Loro Parque Fundación, la Fundación Reina Sofía, CIRCE y la universidad de La Laguna para proteger a los cetáceos del Estrecho de Gibraltar mediante monitorización acústica. El acuario Poema del Mar se convirtió esta noche en el epicentro de la conservación marina con motivo de la cena benéfica del Día Mundial de los Océanos. El evento, que reunió a más de 400 personas entre autoridades, representantes del sector empresarial y destacados miembros de la comunidad científica, se ha consolidado como una de las citas sociales e institucionales más relevantes de Canarias. La gala, organizada por Loro Parque Fundación, contó con la actuación del cuarteto de músicos de Bach IBF Canarias, que puso la banda sonora a una noche dedicada a la protección de los océanos. La recaudación obtenida se destinará íntegramente al desarrollo de SOFIANet (Sensing Ocean Frequencies through Integrated Acoustic Networks), un proyecto pionero para monitorizar de forma continua la presencia de cetáceos en el Estrecho de Gibraltar. Esta iniciativa une el conocimiento científico de Loro Parque Fundación, la Fundación Reina Sofía, CIRCE y la universidad de La Laguna para reducir amenazas críticas como las colisiones con embarcaciones y la contaminación acústica. Este nuevo impulso a la ciencia se suma a la sólida trayectoria de Loro Parque Fundación, que inició sus proyectos marinos en el año 2004 con un firme compromiso en actividades educativas relacionadas con el medio ambiente. Entre sus hitos históricos destaca el apoyo técnico y financiero brindado en 2006 a un proyecto pionero para la obtención de varios kits de diagnóstico, diseñados para determinar la presencia de anticuerpos específicos de diferentes patógenos en el suero sanguíneo de las orcas. Hasta la fecha, la Fundación ha desarrollado un total de 83 proyectos marinos, con una inversión específica que alcanza los 6.990.845 dólares. Durante el acto, Christoph Kiessling, presidente de Loro Parque Fundación, destacó el valor de la ciencia que nace en el archipiélago: "Esta noche no solo celebramos la belleza del mar en Poema del Mar, sino que impulsamos proyectos de vanguardia que, como SOFIANet, demuestran que Canarias es un referente internacional en la defensa de la biodiversidad". Por su parte, el Dr. Javier Almunia, coordinador de SOFIANet, explicó la trascendencia tecnológica del proyecto: "SOFIANet nos permite escuchar el océano para entenderlo y protegerlo. Mediante una red híbrida de hidrófonos y boyas inteligentes, seremos capaces de detectar orcas, cachalotes y otros cetáceos en apenas minutos, generando datos esenciales para la gestión marina". La excelencia de esta velada ha sido posible gracias a la colaboración desinteresada y altruista de un destacado grupo de empresas que han reafirmado su compromiso con la sostenibilidad y el medio ambiente. Entre las entidades colaboradoras se encuentran Vintia, Audiovisuales Canarias, Activa Canarias, Comesa, Emicela, Danafresh, Egatesa, Orthidal, Europastry, Makro, Ahembo, CCC, Firgas, Perelada-Chivite y Gráficas Guiniguada. Con esta iniciativa, Loro Parque Fundación, que de forma global ha invertido más de 30 millones de dólares en más de 300 proyectos de conservación en todo el mundo, salvando 18 especies de animales de la extinción, sigue liderando acciones directas para garantizar que las especies más amenazadas tengan un futuro en nuestros océanos.

Review các phim ra rạp từ ngày 29/05/2026ỐC MƯỢN HỒN – T16Đạo diễn: Đinh Tuấn VũDiễn viên: Quốc Trường, Tiểu Vy, Anh Phạm, Yên Đan, Anh Đức, Lương Gia Huy, Nguyễn Văn Chung,...Thể loại: Bí ẩn, Tâm LýCâu chuyện kể về Quân – một người chồng đau khổ khi vợ qua đời trong một tai nạn bất ngờ. Hạnh phúc tưởng chừng được hồi sinh khi linh hồn vợ anh "trở về" trong thân xác của cô đồng nghiệp, người gặp tai nạn chung với vợ Quân nhưng may mắn sống sót. Giống như những con ốc mượn hồn, họ đều bám víu - lệ thuộc vào chiếc vỏ khác để tồn tại cũng như cố lẩn tránh nỗi đau của cuộc đời. Niềm vui ngắn ngủi tan biến khi một bí mật kinh hoàng liên quan đến cái chết của vợ anh được hé lộ, đặt Quân trước lựa chọn giữa việc tiếp tục bám víu, chấp nhận chiếc vỏ của hạnh phúc tự tạo hay phanh phui sự thật kinh hoàng bên trong chính chiếc vỏ này.COMBO PHIM HAI CON CHUỘT VÀ NỬA ĐÊM NỔI HỨNG ĐI CẮT TÓC – T16Thể loại: Drama Hai Con Chuột: Một chàng trai có người bạn thân qua chơi và ngủ lại buổi tối. Chàng trai thầm thích người ấy từ lâu, nhưng ngày mai người ấy sẽ lấy vợ. Chàng trai biết đó là đêm cuối cùng mà hai người được ở gần nhau. Nữa Đêm Nổi Hứng Đi Cắt Tóc: Nửa đêm, hai người bạn thân gặp lại nhau: một anh thợ cắt tóc đơn độc và một chàng trai đào hoa vừa thất tình. Cả hai cùng trò chuyện thâu đêm, và vô tình khơi dậy một cảm xúc mà họ luôn né tránh.BA TRỢN – T18Đạo diễn: Damian Mc CarthyDiễn viên: Adam Scott, Peter Coonan, David WilmotThể loại: Kinh DịPHIÊN BẢN KINH DỊ QUỶ ÁM NÂNG CẤP HƠN "TALK TO ME" Một nhà văn viết tiểu thuyết kinh dị đến một quán trọ ở Ireland để rải tro cốt cha mẹ mình, mà không biết rằng nơi đó được đồn đại là bị ma ám.KHÁCH – T16Đạo diễn: André ØvredalDiễn viên: Jacob Scipio, Lou Llobell and Melissa LeoThể loại: Kinh DịSau khi chứng kiến một vụ tai nạn kinh hoàng trên đường cao tốc, một cặp đôi trẻ sớm nhận ra họ không rời khỏi hiện trường một mình. “Khách”, một thực thể quỷ ám bám theo và sẽ không dừng lại cho đến khi đoạt mạng cả hai, biến chuyến hành trình van life của họ thành cơn ác mộng.NGÔI ĐỀN KỲ QUÁI 5 – T16Đạo diễn: Phontharis ChotkijsadarsoponDiễn viên: Aim Witthawat Rattanaboonbaramee, Thể loại: Hài, Kinh DịThương hiệu Kinh dị - Hài Thái Lan ăn khách nhất đã trở lại. TÂY DU KÝ ĐẠI NÁOĐạo diễn: SUN WU KONGDiễn viên: Jazz Padung, Nong Chachacha, Junior Kajbhundit, Gap Jakarin, Chae Ongart, Zani Nipaporn, Nammon Krittanai, PJ KritsanaThể loại: Hài, Thần thoạiTrên đường sang Tây Trúc thỉnh kinh, 4 thầy trò Đường Tăng bất ngờ bị nhóm yêu quái gồm Ngưu Ma Vương, Thiết Phiến Công Chúa, Hồ Ly Tinh và Nhện Tinh phục kích. Trong lúc giao tranh, Ngộ Không bị quạt Ba Tiêu thổi bay sang một vết nứt không gian, rơi xuống một bãi rác lớn tại Thái Lan thời hiện đại. Tại đây, trong tình trạng mất đi gậy Như Ý, Mỹ Hầu Vương tình cờ được một gia đình nghèo khó cưu mang. Hành trình mới bắt đầu khi Ngộ Không vừa phải thích nghi với thế giới xa lạ, vừa tìm đường quay về cứu sư phụ, đồng thời đối mặt với những thử thách đầy cảm xúc ở thời hiện đại.KUMANTHONG - ÁC QUỶ DẪN ĐƯỜNG (Indonesia) – T18 Đạo diễn: HADRAH DAENG RATUDiễn viên: Padung Songsang, Kapol Thongplub, Nicky Na Chat JuntapunThể loại: Kinh DịMột người mẹ đơn thân, vì tương lai của đứa con trai gần như mù lòa, quyết liều mình băng qua khu rừng ma ám trong đêm tối. Nhưng khi một tà linh từ Alas Roban bắt đầu chiếm hữu đứa trẻ, cô buộc phải đối mặt với những thế lực siêu nhiên kinh hoàng và bước vào hành trình tìm kiếm sự cứu rỗi tâm linh trước khi mất đi tất cả.MOBILE SUIT GUNDAM TIA CHỚP HATHAWAY: MA THUẬT NỮ THẦN CIRCE – T13Đạo diễn: Shukou MuraseThể loại: Hoạt Hình---------------------------#8saigon #reviewphimrap #phimocmuonhon #taydukydaonao #ngoidenkyquai5

The second film in the Hathaway's Flash movie trilogy, MSG: Hathaway: The Sorcery of Nymph Circe, hit US theaters on May 14, 2026, and we were there to bask in all its silver screen glory.  We discuss the film at length, including Hathaway's dismantling of Lane (again); Alyzeus as Bandai's War Machine; whether Lane is a cyber newtype or just a drunk E.T.; Anaheim's implied policy on beam saber colors; weighing the evidence if Brinks' cat is a newtype; and predict whether Bandai / Sunrise will pull the ultimate punch, among others.  Plus, Isaac dons his Bask goggles to justify Kimberley's squishing incident and discovers that he is somewhere between Degwin and Bask.  Double plus, the Colony Drop crew enjoys a post-film dinner at the most thematically appropriate place: Outback Steakhouse! Let's go for part three, Bandai!

Secondo episodio con i racconti antologici di Lex Arcana! A questo giro tocca a Roberto, in compagnia della ritrovata Circe, scoprire cosa sta succedendo fra i villaggi dell'attica, dove una strana follia sta dilagando...Potete trovare i social di #IntavernadaKurt su:●⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠●⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠●⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠●⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Telegram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠●⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

We have a heck of an episode for you.  Arthur is turning 17 and our episode is inspired by the right wing pushback against Christopher Nolan's 'The Odyssey'.  We dig into the origin of the work, what we know of it's 'author' Homer, the real, the mythical, the things that are somewhere in between.  We say goodbye to a family friend and gget downright hostile about people judging movies based on trailers in this deep dive into the origins of the Odyssey and all it's attendant mythology in this little bit of history, whole lotta weird imagined horrors episode of the Family Plot Podcast!Become a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

Hoy en La diez Capital Radio Miguel Ángel González Suárez entrevistara a Christoph Kiessling, presidente de Loro Parque Fundación y vicepresidente de Loro Parque, que hablará sobre el Encuentro por la Biodiversidad que celebró el días pasados en Madrid y sobre las orcas de Marineland. Loro Parque Fundación reúne en Madrid a referentes mundiales de la conservación y presenta SofiaNet, una red acústica pionera para proteger a los cetáceos del Estrecho. El encuentro, celebrado en el Espacio Almagro ante más de 150 representantes del ámbito científico, institucional y conservacionista, reforzó la alianza con la UICN SSC y mostró proyectos con impacto real: de la recuperación de especies amenazadas a la reducción de interacciones entre orcas y embarcaciones. Coincidiendo con la celebración del Día Internacional de la Diversidad Biológica, el acto contó con la asistencia de Wolfgang Kiessling, presidente de Loro Parque, y de Vivek Menon, presidente de la Comisión para la Supervivencia de Especies de la UICN. En una jornada marcada por el liderazgo científico, Loro Parque Fundación celebró este pasado jueves en el Espacio Almagro de Madrid, el Encuentro por la Biodiversidad, ante más de 150 personalidades del ámbito académico, político y conservacionista. El encuentro ha coincidido con la presentación de la Lista Roja Nacional de España en el Congreso de los Diputados con motivo del Día Internacional de la Diversidad Biológica, acto en el que ha participado Ángel Curros, director biológico del acuario Poema del Mar, para exponer los avances en la protección de especies críticamente amenazadas como el angelote y la mantelina; y del doctor Javier Almunia, que presentó el proyecto CanBIO. Durante su intervención, el presidente de Loro Parque, Wolfgang Kiessling, reiteró la plena disposición del Grupo para colaborar en el rescate de las orcas Wikie y Keijo, actualmente en el parque Marineland (Francia). Kiessling subrayó que esta operación no responde a intereses comerciales "no ganamos un euro más por tener seis orcas en lugar de cuatro" sino a una responsabilidad moral, técnica y profesional para evitar que los animales mueran sin una alternativa real. El presidente de Loro Parque fue tajante al señalar que la institución solo procederá al traslado si cuenta con el expreso visto bueno del Gobierno de España y se garantiza la seguridad jurídica y técnica del proceso. "Nuestra voluntad es salvar la vida de estos animales y rescatarlos de un destino fatal", afirmó, invitando al ejecutivo español a reconocer formalmente la idoneidad de las instalaciones de Tenerife, referentes mundiales en bienestar animal. Una operación que asumiría como un "acto humano" frente a la inexistencia de santuarios marinos, como confirmó la semana pasada en ministro delegado de Transición Ecológica de Francia, Mathieu Lefevre. Por su parte, Vivek Menon, presidente de la Comisión para la Supervivencia de Especies de la UICN, destacó la importancia de centrar los esfuerzos en la defensa individual de cada especie. Menon puso como ejemplo de éxito la colaboración con Loro Parque Fundación en la recuperación del Guacamayo de Lear en Brasil, que ha pasado de estar al borde de la desaparición a contar con más de 2.200 ejemplares en la naturaleza. "La naturaleza es muy resiliente y agradecida; si haces algo por ella, te lo devolverá", afirmó, ofreciendo el apoyo de los 15.000 investigadores que integran su comisión para seguir colaborando con la Fundación. El presidente de Loro Parque Fundación, Christoph Kiessling, presentó como gran hito de la noche el Proyecto SofiaNet. Esta iniciativa busca desarrollar un sistema avanzado de monitorización acústica continua y automatizada para conocer la presencia de cetáceos en el Estrecho de Gibraltar. Exportando la tecnología desarrollada en Canarias a través del proyecto CanBIO, SofiaNet permitirá generar datos de alta calidad para entender mejor las amenazas derivadas del ruido de origen humano y mejorar la gestión de este espacio marino crítico. Un proyecto que cuenta con la colaboración de la Fundación Reina Sofía, la Universidad de La Laguna y CIRCE. La jornada sirvió también para desgranar otros proyectos clave que sitúan a la Fundación a la vanguardia. El Dr. Antonio Fernández (ULPGC) presentó su nuevo libro “Células del Delfín”, una obra única que utiliza la microscopía electrónica para el diagnóstico patológico, permitiendo "hablar con la muerte para ayudar a la vida". Por su parte, el Dr. Renaud de Stephanis (CIRCE) detalló cómo 22 años de estudios han permitido reducir en un 80% las interacciones con veleros gracias a recomendaciones basadas en ciencia, como navegar en aguas someras y no detener la embarcación. El Dr. Javier Almunia expuso el proyecto cambio, que estudia la acidificación oceánica, el ruido submarino y el impacto del cambio climático en la biodiversidad terrestre y marina, siendo referente a nivel mundial y que cuenta con a financiación de Loro Parque Fundación y el Gobierno de Canarias, en colaboración con la Universidad de La Laguna y la Universidad de Las Palmas de Gran Canaria. Con este encuentro, Loro Parque Fundación reafirma su papel como motor de la conservación global, habiendo salvado ya a 18 especies de la extinción gracias a una inversión acumulada de 30 millones de dólares.

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick and the Dr. Gregory McBrayer discuss Books 9-10 of the Odyssey--the first half of Odysseus telling his own story and covering such famous narratives as the lotus eaters, the cyclops, and Circe. Check out our WRITTEN GUIDE to the Odyssey--great for small groups!Follow us on X, YouTube, Instagram, and more!SummaryBooks 9 and 10 of the Odyssey feature Odysseus revealing his identity to the Phaeacians and recounting his adventures after Troy. The episodes include the raid on Ismarus, the encounter with the Lotus Eaters (whom Odysseus forcibly removes to prevent them from forgetting home), the harrowing trap in Polyphemus the Cyclops's cave (where Odysseus uses the "Nobody" ruse, wine, and an olive-wood stake to blind the giant before taunting him and invoking Poseidon's curse), the visit to Aeolus (whose bag of winds is opened by the crew, blowing them off course), the cannibalistic Laestrygonians (who destroy the fleet except Odysseus's ship), and the stay with the goddess Circe (who transforms his men into pigs, but is countered by Hermes' moly herb, leading to a year of feasting and Odysseus bedding her under divine instruction before she directs him to the underworld).The hosts explore deeper philosophical and moral themes, viewing these stories as Odysseus's moral and theoretical education. They discuss xenia (guest-friendship) and its perversions, the tension between Odysseus's cunning intellect and his men's appetites or spiritedness, leadership failures, and Homer's intentional dialectic presenting human nature. Particular attention is given to Odysseus's curiosity, pride, and evolving understanding of place, home, mortality, and nature (highlighted in the moly scene as a discovery of physis). The conversation frames Circe as a structural pivot, contrasting earlier moral tales with later intellectual ones, and portrays Odysseus as a complex, self-serving yet learning figure whose narrative may blend truth and rhetoric tailored to his audience.Chapters00:00 Introduction to Ascend and the Great Books07:42 Professional Updates and New Opportunities09:37 Teaching Homer: Insights and Anecdotes10:58 Homer as a Philosopher: Dialectics in the Text14:08 Odysseus: The Complicated Hero15:47 Odysseus' Journey: Learning and Growth17:54 The Role of Storytelling in the Odyssey23:05 The Importance of Place and Homecoming28:08 Odysseus and His Men: Leadership Dynamics35:47 The Lotus Eaters: Virtue and Temptation40:31 The Nature of Happiness and the Soul's Journey44:04 Odysseus and the Cyclops: A Political Critique54:20 Guest Friendship and Ethical Dilemmas01:05:01 Rhetoric and the Limits of Persuasion01:09:21 Understanding Polyphemus: The Nature of Deception01:11:20 Odysseus's Internal Monologue: The Role of Wisdom01:12:46 The Cyclops's Overconfidence: A Fatal Flaw01:13:49 The Role of Wine: A Tool for Manipulation01:14:58 Guest Friendship: A Perverse Parody01:16:36 The Blinding of Polyphemus: A Turning Point01:17:47 Community Response: The Cyclops's Isolation01:18:41 The Consequences of Pride: Odysseus Reveals His Name01:20:51 The Significance of 'Nobody': Identity and Cunning01:23:24 The Escape Plan: Cleverness in Adversity01:24:05 The Curse of Polyphemus: A Divine Retribution01:26:42 The Cycle of Violence: Guest Friendship Violated01:27:34 The Structure of the Odyssey: Peaks and Valleys01:29:09 The Role of Agency: Human Choices vs. Divine Will01:29:38 The Heartbreak of Aeolus: Trust Broken01:33:56 The Lystra-agonian Encounter: A Leadership Crisis01:36:31 Odysseus's Leadership and Responsibility01:39:50 The Enigmatic Circe: Goddess and Witch01:45:13 Odysseus's Encounter with Circe: A Test of Will01:50:59 The Nature of Eros and Odysseus's Choices01:56:56 The Philosophical Journey: Nature and Mortality02:01:51 The Path to the Underworld: Elpenor's FateKeywordsKey keywords for this episode include Odyssey Book 9, Odyssey Book 10, Odysseus Cyclops, Polyphemus, Circe Odyssey, Homer Odyssey summary, Odysseus adventures, Lotus Eaters, Aeolus bag of winds, Laestrygonians, Odysseus and Circe, Nobody Odysseus, Xenia guest friendship, Homer philosophy, Odysseus leadership, Odysseus moral education, Summary of Odyssey Books 9 and 10, Odysseus vs Polyphemus, Circe turns men into pigs, Philosophical themes in The Odyssey, Homer Odyssey Cyclops episode, Odysseus journey home, Guest friendship in The Odyssey, Ascend Great Books Podcast, Harrison Garlick Odyssey, and Gregory McBrayer Homer.

     Mike and Derek both went to the theatre to see Mobile Suit Gundam Hathaway The Sorcery of Nymph Circe!  

On this episode of Peace Bound and Down: A Wonder Woman Podcast, Sean is joined by Jarrod Alberich, the Yard Sale Artist, to discuss Wonder Woman Vol. 2, Issue 18! Diana's trip to modern Greece continues and grows bloody as Circe's were-creatures attack. Is this the end of Vanessa?! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Fire & Water website: http://fireandwaterpodcast.com Fire & Water Facebook page: https://www.facebook.com/FWPodcastNetwork Fire & Water on Twitter/X: https://x.com/FWPodcasts Fire & Water on Bluesky: https://bsky.app/profile/fwpodcasts.bsky.social Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Promos: The Longbox Crusade Bringing a little peace to man's world each month.

#GundamHathaway #HathawayFlash #MobileSuitGundam #SorceryofNymphCirce #CharsCounterattack  The Gundam Hathaway movies lowkey ask alot of the audience in terms of understanding its story. By itself, this second movie presumes you not only watched the first film but you also have an understanding of the UC stories particularly the film, Char's Counterattack, which heavily factors into the continuing story of Hathaway Noa. Overall, Sorcery of Nymph Circe is a solid 2nd entry leading into the 3rd act of Hathaway Noa and his mission to take down the Earth Federation. Solid visuals and even the music choices do a great job of immersing you into the story of Hathaway, Kenneth, & GiGi's character progression.

The second installment of the Mobile Suit Gundam: Hathaway film trilogy is finally here, and it was absolutely worth the five-year wait. The Sorcery of Nymph Circe, based on the second novel of Tomino Yoshiyuki's Hathaway's Flash light novel series, is a more complicated, dense, and challenging film than its predecessor, but also one that dives deeper into its characters fractured psyches. And along the way, it presents some of the boldest and most immersive 3D mecha animation we've ever seen, building to a climax that is absolutely staggering in both aesthetic and emotional impact. We also discuss several pieces of recent Gundam news, including new projects announced for the worlds of Gundam Wing and Gundam SEED.  Enjoy, and if you haven't already been listening to Japanimation Station this season, be sure to check-in for our Tomino-thon, where we're surveying all the works in the career of original Gundam creator Tomino Yoshiyuki!   Time Chart: Theme Song: 0:00:00 – 0:00:59 Intro & Initial Reactions: 0:00:59 – 0:09:20 Gundam News: 0:09:20 – 0:35:21 Film Background Info: 0:35:21 – 1:20:22 Eyecatch Break: 1:20:22 – 1:21:10 Circe Review: 1:21:10 – 2:48:15 End Theme: 2:48:15 – 2:49:17 Read Jonathan Lack's movie reviews and stay up to date with all our podcast projects at https://www.jonathanlack.com Subscribe to PURELY ACADEMIC, our monthly variety podcast about movies, video games, TV, and more: https://purelyacademic.simplecast.com Read Jonathan's book 200 Reviews in Paperback or on Kindle – https://a.co/d/bLx53vK Subscribe to our YouTube channels!  Japanimation Station: https://www.youtube.com/c/japanimationstation   Purely Academic: https://www.youtube.com/@purelyacademicpodcast Support the show at Ko-fi ☕️ https://ko-fi.com/weeklystuff Original Music by Thomas Lack https://www.thomaslack.com/

Gundam is back in theaters, and so are we! The long-awaited sequel to Mobile Suit Gundam Hathaway is here after five years. The Sorcery of Nymph Circe has no less the emphasis on tense conversations and politics than its predecessor, but how does it this time? I will say "not quite the same," but I'm gonna make you listen to the show if you want to hear if that's a good or bad thing.

CinemAddicts Episode 344 reviews three movies that are coming out the week of Friday, May 15, 2026. They are Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe, Magic Hour, and Forge. Due to technical difficulties, Bruce Purkey's CinemAttic will not be made available this week! Timestamps 00:00 - Intro and Taco Bell talk 08:59 - Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe

Abrimos con la reseña pormenorizada de un libro de la arqueóloga Elizabeth Wayland Barber, escrito hace varias décadas pero traducido al castellano y recientemente publicado por Capitán Swing: Los trabajos de las mujeres: Mujeres, telas y sociedad en la antigüedad. Es una investigación interdisciplinaria que recorre 20.000 años de historia para reivindicar el papel central, y a menudo invisibilizado, de las mujeres en el desarrollo de la civilización a través de la industria textil. De la mano experta de Mariajo Noain, veremos cómo la autora demuestra cómo el hilado y el tejido no eran actividades frívolas, sino una poderosa fuerza económica y tecnológica que constituyó la base de las primeras sociedades humanas. La segunda propuesta nos devuelve a la lectura de la Odisea por parte de nuestra alma mater, Bikendi Goiko-uria. Tercer capítulo en el que conoceremos como Odiseo y los suyos, tras vagar meses por los mares, llegan a la isla de la diosa Circe. Esta, les guiará y aconsejará sobre cómo llegar al mismísimo Hades. En la repetición, recuperamos el primero de una saga de siete capítulos que nos harán recordar que ni Roma se construyó en un día, ni desapareció en el año 476 cuando el emperador Rómulo Augústulo fue depuesto. Aunque a veces se nos olvida, el imperio oriental o bizantino, perduró otros mil años y dejó para la historia grandes nombres. Como el del magister militum del que hablaremos hoy: Flavio Belisario. Además, no solo será el protagonista de esta y las siguientes entregas repetidas de Por los Dioses, con Sergio Alejo. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

fWotD Episode 3294: Golden Bough (Aeneid) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Tuesday, 12 May 2026, is Golden Bough (Aeneid).The Golden Bough is a fantastical object described in the Aeneid, an epic poem by the Roman poet Virgil composed between 29 and 19 BCE narrating the adventures of the Trojan hero Aeneas after the Trojan War. The episode of the Golden Bough is found in its sixth book and is part of Aeneas's journey into the Underworld. The bough itself acts as proof of Aeneas's divine favour, and allows him to pass into the Underworld. He is tasked to find it in an expansive forest, which he accomplishes with the aid of his mother, the goddess Venus, and to remove it from its host tree. Although Aeneas has been told that it would come easily, if his journey is ordained by fate, Virgil describes the bough as briefly hesitating before he takes it.Virgil's portrayal of the bough has no direct literary antecedents, though it draws on several precedents from literature, folklore and philosophy. Scholars have connected it with, among others, the Golden Fleece in the story of the Argonauts; symbolic objects associated with deities such as Hermes, Dionysus and Circe; and the branches carried by prospective initiates into the Eleusinian Mysteries, a Greek religious rite centred on a symbolic journey into the Underworld. Virgil associates it with both death and immortality, partly by way of symbolic associations in Graeco-Roman culture between gold and the gods. It also recalls ideas put forth by the Roman philosopher Lucretius as to the nature of the soul. The episode of the Golden Bough was parodied by authors including Virgil's contemporary Ovid, and drawn upon by later Roman poets including Lucan and Valerius Flaccus.Early interpretations of the Golden Bough tended to give it an allegorical function, particularly via Pythagorean and Neoplatonist philosophy, which viewed it as symbolic of the choice between virtue and vice. Medieval commentators often considered it a symbol of wisdom, and several Christian theologians interpreted it as representing Christian wisdom and virtue. In the sixteenth century, it became a heraldic symbol of the Florentine House of Medici. Early modern receptions of the bough, including those of François Rabelais and Jonathan Swift, were often parodic or obscene. In the twentieth century, scholars following the Harvard School interpretation of the Aeneid argued that Virgil's use of the bough reflected his ambivalence towards Aeneas and the latter's mission to set in motion the rise of the Roman Empire. Other critics have highlighted echoes between the episode of the Golden Bough and the morally charged deaths of two of Aeneas's antagonists, Dido and Turnus.In the fourth or fifth century CE, the commentator Servius connected the bough to rex Nemorensis, a priest of the goddess Diana at Lake Nemi whose office was passed on by the killing of its holder. This equation influenced the anthropologist James George Frazer, who used the bough for the title of his 1890 work on comparative religion. The bough is recalled in Dante Alighieri's Divine Comedy and was the subject of an 1834 painting by J. M. W. Turner, which was used as the frontispiece for the early editions of Frazer's book. It was an influential motif in the "Byzantium" poems of W. B. Yeats and in the poetry of Seamus Heaney, who made several translations of Virgil's account of the episode. Scholars have also drawn parallels between the Golden Bough and significant objects in the novels of J. R. R. Tolkien.This recording reflects the Wikipedia text as of 00:53 UTC on Tuesday, 12 May 2026.For the full current version of the article, see Golden Bough (Aeneid) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

before monsters learned their names, before heroes thought themselves immortal, there was a voice learning to speak. it's time for herstory, not history as we turn to Circe by Madeline Miller - a retelling and reimaging of Circe, the witch of The Odyssey - a story that promises to be absorbing, luminous and spellbinding – a feminist novel, ripe for the #metoo generation. we talk all about Greek mythology, our newly uncovered adoration for Madeline Miller, our previous podcast episode on the highs and lows (but mainly lows) of The Song of Achilles and ask ourselves the question, can the works of Madeline Miller be redeemed by Circe or are we fated to eternal literary woe?  send us your voice messages here

Narrator: Thomas Jones

My colleague Oliver Traldi recently published an essay called ‘Jane Austen's Virtuous Liberalism'. It's a very nice discussion of the ways in which Austen understand the challenges of character formation.Virtue, as Austen sees it, faces two tough challenges. First, people whose characters are not yet formed must see how to be virtuous rather than vicious. Then, the virtuous must somehow find a way to succeed in their struggles against the vicious without adopting vicious means.In this episode, Oliver and I discussed Austen's ideas of virtue, what that has to do with liberalism, the relationship between philosophy and literature more broadly, as well as poetry and ideas about the Great Books. We also talked about the Keira Knightly Pride and Prejudice. Yes, we both liked it. Here is why Oliver thinks Jane Austen is so popular among philosophers.TRALDI: And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.And here is an extract about Austen, Smith, and the wonderfully fertile period at the end of the eighteen century.TRALDI: But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—This was my favourite bit.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?Oliver is an analytical, political philosopher. You can find out more about his work here. Here he is on Twitter. His Substack is orting. You can watch the episode on YouTube here.TranscriptHENRY OLIVER: Today I am talking to Oliver Traldi. Oliver is an assistant professor of philosophy at the University of Toledo in Ohio. He is my colleague on the Emerging Scholars Program at the Mercatus Center, and he's written a book about political beliefs as well as many other articles for magazines, online.He's got a Substack. He's maybe the most prominent political and epistemological young philosopher of his generation. [laughter] But most importantly for us, he is interested in Jane Austen and the idea of virtue. Oliver, welcome.OLIVER TRALDI: Thank you so much for having me.Reading Austen as a PhilosopherOLIVER: Let's just start—before we get to this article you've written, tell me about being a philosopher but reading Jane Austen, because she's often read and commented on by people who are not philosophers or who are only philosophers by acquaintance or whatever.TRALDI: Right.OLIVER: Is it different reading as a philosopher, do you think?TRALDI: I think yes and no. One thing as a philosopher, there are—contemporary philosophy, we have very exacting standards of rigor and clarity. And when we look for a theory, we want something that's been improved by hundreds of people and thousands of journal articles.And so, if you were to simply extract a theory of virtue from a novel and say, “Does this—is this the end-all, be-all of moral thinking?” obviously you're going to be disappointed. So I think as a philosopher, you have to look for other types of things, other types of sensitivities rather than logical sensitivity.You have to say, how sensitive is the author to the different types of situations where people's virtue can be exhibited or challenged? Or how sensitive is the author to the different types of pressures that a character's convictions can be put under, or the different sorts of compromises that they might have to make, or the different sorts of people who might not be virtuous who they might have to interact with and sort of, you know, contract with or avoid? And what are going to be the impacts of different kinds of choices in those situations?So the novelists, I think, tend—if they do it well, a novelist who's interested in morality will understand living morally probably better than a philosopher, while maybe not understanding, say, arguments about whether morality supervenes on reality or vice versa, or what grounds morality, or different theories of meta-ethics or whatever.OLIVER: I mean, there are obviously some novelists who do have a better appreciation of those things than others, we should say.TRALDI: Yes, I think that's absolutely true. And as I wrote in my article, I do think Austen in particular had an appreciation for this issue that you might call moral disarming or unilateral disarming. You know, does the moral person put themselves at a disadvantage relative to the immoral person? And then how do we actually help—how does morality survive?So that's a kind of philosophical question, but I tend to think—I taught last year—I think we've talked about this a bit. I taught in a great books program at Tulsa.OLIVER: This is the Jennifer Frey program.TRALDI: This is the ill-fated Jennifer Frey program. Jennifer—I don't know if you've met her, but she's an incredibly charismatic person. But somehow the program, despite being enormously successful, did not survive. You know, I was there for a year, and they decided that was long enough.OLIVER: [laughs] You don't think your arrival was the—TRALDI: No, no. I hope not. I most certainly hope not.OLIVER: No. General problems of higher education prevailed. Yes.TRALDI: Yes, many, many problems of higher education these days. But yes, so I think—what was I saying?OLIVER: Well, I think we're getting to this question of, you are not just a philosopher; you teach the great books.TRALDI: Right, exactly. The great books. That's where I was. Yes.Philosophy and the Great BooksOLIVER: So, one thing I'm interested in is that, you know, reading as a philosopher, you get a slightly different perspective on Austen. When you read other fiction, poetry, whatever, is there a benefit to you as a philosopher? Does it broaden you in some way?TRALDI: Yes. I think absolutely, it's broadening, but it's also focusing in a different way. You know, contemporary philosophy is often described or captured with the word epicycles. So what we mean when we say epicycles is, you have some major theory, which is supposed to answer some big question. And then your career as a philosopher—you're like three layers deep in the theory, in some sub-debate, and you're making some really fine-grained distinctions.And if you can make those distinctions successfully, you've had a really great career. But I think it's easy to forget, why are we doing—you know, what attracted us to philosophy? Why are we doing this to begin with?And the great novels, great books in general—one example I always use is the Book of Job. It doesn't really—it's not doing clear philosophy on the question of why do bad things happen to good people. But when you read it, you feel the question, why do bad things happen to good people? You get it, you know? You get why this is a question that people have worried about for thousands of years. You get why it calls out for an answer.You know, there's a lot of truth out there. I'm looking at a set of coat hangers, and I could count the coat hangers. But if you were given the decision, would I rather have an answer to how many coat hangers are across the room from me, or why do bad things happen to good people? You'd probably go with the latter one. There's somehow some kind of depth or importance to that question, right?And I think there's—a great novelist can often generate some vividity to these questions. They can show how these questions are part of a good life, asking these questions, trying to have these questions answered—or a not-so-good life.Certainly in Austen there are a lot of characters who learn to be more virtuous. Probably Emma is the clearest example. But you might also think of Marianne Dashwood. Really—OLIVER: Lizzy Bennet.TRALDI: Lizzy Bennet really learns to be a better person. I actually think her character is rather close to Emma in a lot of ways.OLIVER: Yes, I think Emma's sort of a clear rewrite of Lizzy in some—yes, yes.TRALDI: Yes, and in some ways more evocative, actually. Yes. I mean, we can talk about all these books. But yes, I think there's these things, even—obviously qua literature, they have other virtues, right? Which much philosophy doesn't have; very little philosophy has the literary virtues.But the philosophical virtue that a lot of literature does have is you see, okay, these are the—this is what a life is like. This is what making choices is like. These are the big questions when you decide how to live your life and what kinds of choices to make.And I think Austen—these questions are all through Austen, even though nobody has to murder anybody in Austen. Nobody has to make decisions about war and peace or about, you know, civilizational decline or civilizational progress or anything like that. These people making these small choices in a lot of ways. But those are the lives that most of us lead. And when you read Austen, you think, “Oh, okay, there's a virtuous and a vicious way to lead this kind of rather normal life.”The Good LifeOLIVER: The question of what is a good life, or what is a good life in a commercial society, maybe, is the sort of bedrock of what she's doing.TRALDI: Yes, I think so. And that's why I think Austen—you know, Austen wasn't on our syllabus at Tulsa, but she was certainly discussed. And the “what is a good life” question—to me, it's the big question that a great books program for college students should always come back to.If I didn't know what else to talk about, I would just say, “Well, we just read this book.” You know, we read these old biographies of Charlemagne from, like, Einhard—Notker the Stammerer and Einhard, his adopted son or whatever. I don't remember. But this is like 800s. I'm sure you know more about this stuff than I do.And I wasn't quite sure what to do with them because what do I know about Charlemagne? So I just said, “Does it seem like Charlemagne lived a good life?” And you know, you're off to the races. And I think that's important at that age, because that's the age at which—OLIVER: For the undergraduates?TRALDI: Yes. I think that's the age at which you're starting to make your own big decisions about what sort of life to lead. And I think for me, looking back to myself at that age, I think one thing I did wrong—at Tulsa I was in some ways as much a student as a teacher. I was rereading a lot of this stuff for the first time in decades. And some of it I was reading for the first time. As I told you, I was reading a lot of Austen for the first time for this essay.OLIVER: Right, right.TRALDI: And yes, it was stuff that I had thought about at a theoretical level, you know, like what are the ins and outs of this theory or this philosophical move or something like that. But you feel the question a bit differently when you're like, “Okay, I'm an adult. I have to decide whether to live in this way or that way.”The world is open to you. You could convert to Thomism [laughter] like so many have tried to have me do, or you could become a merchant after reading The Wealth of Nations. Or you could become a revolutionary after reading Marx, or you could become a Nietzschean. You know, there are all these choices open to you.OLIVER: Please don't become a Nietzchean.TRALDI: No, no. That is, I'm a—OLIVER: Keep your children out of school if that's going to be the result. [laughs]TRALDI: Yes. I'm a committed moralist, so I cannot, but he is—he made a comeback, that's for sure.Philosophy and PoetryOLIVER: Now, there's this obviously sort of long-running question in philosophy about, what is the relationship between philosophy and poetry? Are they antagonists, or are they in some way, you know, twins, and each provides one half of what is needed for a complete way of understanding the world? Do you have a position on this?TRALDI: Yes, I mean, I think they're what the kids call twinning.OLIVER: Twinning? [laughs]TRALDI: I think they're twinning. No, no, I think that means something different. I think that means when you're wearing the same outfit or something like that.OLIVER: So we're almost twinning with our stripes—yes, I see.TRALDI: We're almost. We actually—we are stripes and blue. Yes, we're closer than I would've expected.I would say closer to twins. There are a lot of claims that philosophy is at odds somehow with this or that. There's also this—certain people will say, “Well, ever since Socrates, philosophy has been at odds with politics.” And a big part of philosophy is, how do you survive? Well, I don't know. Nobody's trying to kill me. I think of myself as a decently committed philosopher.OLIVER: It seems to me this changed fundamentally in the Enlightenment and with the Romantics, and they see it all much more joined up. It's a sort of ancient-and-modern dynamic.TRALDI: Yes, there may be an ancient-and-modern distinction there. But yes, for me I don't see any kind of contradiction. Now, there are—and I think this comes out of what I said before—philosophical attempts to understand poetry. And certain kinds of literary and aesthetic devices do sometimes fall a little flat.The philosophical literature on metaphor, for instance—I think some theories of metaphor really don't get why people use metaphors. [laughter] So one of the most important theories of metaphor is that they're all just false, that it's like everybody who uses a metaphor is lying. This isn't the full theory. There are bells and whistles added.OLIVER: Sure, sure.TRALDI: But yes, so I think there's no contradiction. But at the same time, they are different modes in some ways, and people who do the one are often trying to do something different than the other.I do think that the desire for rigor and precision and clarity that philosophers have can be a little maddening to nonphilosophers, who see the pull of philosophical questions like, “What sort of life I should lead?” and then see, what do philosophers actually do?And we're doing all this modal logic and all these truth tables and all this very technical stuff that looks like math. And they say, “That can't possibly be the right way to think about how to live.” And it's true that there are these studies of—that suggest ethicists aren't actually very good people and things like that, although you have to wonder what is the background ethical theory that went into evaluating them.So yes, I don't think there's really a contradiction between philosophy and anything else. But certainly, there was a point in my life where I always come back to trying to write poetry and do poorly and then stop. But it was always something where I would say, “Okay, if I'm doing philosophy in the afternoon, I better wait till the evening to write poetry.” You have to sort of reboot and get into a different mode.OLIVER: Iris Murdoch used to write philosophy in the morning and novels in the afternoon. That kind of thing.TRALDI: Yes, I think that's very sensible.OLIVER: And she was upstairs for the one and downstairs for the other.TRALDI: Yes. That's even better, you know?Favorite PoetsOLIVER: Which poets do you like?TRALDI: Geez, I guess for an American, I like Wallace Stevens. I wasn't expecting this question. For a Brit, you know, I actually like Philip Larkin a lot.OLIVER: Oh, yes?TRALDI: I know—what is the opinion of Larkin? Is he considered—OLIVER: Very high.TRALDI: Very high? Okay.OLIVER: Some—there are some dissenters, but basically he's the guy.TRALDI: He's the guy, okay. Yes.OLIVER: Twentieth-century English poetry is like Auden, Larkin, Betjeman.TRALDI: Yes, Auden is—actually, my friend Jane Cooper just wrote something about Auden.OLIVER: Yes, Jane is excellent.TRALDI: Yes, Jane is really great.OLIVER: That was in the New Statesman if you want to look it up.TRALDI: That was in the New Statesman. Yes, yes, yes. But Auden, I don't know quite as well.I mean, poetry is—I think it's interesting the way that we receive poetry now. I think you were talking about this a few days ago, about things like poems appearing as inspirational quotes on social media or something like that, and whoever is the most quotable. And you felt like maybe Dostoevsky is very quotable.OLIVER: Dostoevsky has a sort of screenshot quality.TRALDI: Yes, yes.OLIVER: As does Martin Amis.TRALDI: Yes. So I—OLIVER: Whereas Philip Larkin in a funny way—you know, he has very short poems. You can get the whole poem on Twitter. Like, Robert Frost has that. But something like “The Whitsun Weddings,” it's quite hard to just take three lines out. The whole thing works as a—and that, so that poem gets less—TRALDI: Yes. Which is what you would expect from a good poem, really, that it would form a kind of whole.OLIVER: Exactly. If it's a three-page ode, it should have a continuous quality.TRALDI: Yes, it should have a kind of internal structure. Yes.OLIVER: There are some one-line things and—but I think it's notable that a poet like Wordsworth doesn't seem to get a lot of social media play. And I think probably that's one reason.TRALDI: So yes, I think Larkin is somebody who, I did see some shorter references to him, and I thought I'd better just go and look up a ton of poems by this guy. And Stevens was the same way.Death and Philip LarkinOLIVER: So, which Larkin do you like?TRALDI: You're really putting me on the spot here. [laughter] It has been a little while.OLIVER: I lied to you and said it would be about Jane Austen.TRALDI: Yes, now I'm completely screwed. Well, he has a bunch about death. He has one where death is a ship following you. And he has one where death is, like, a fruit that gets picked or something.OLIVER: Apple?TRALDI: Might be an apple.OLIVER: He decides not to throw the apple.TRALDI: There's one with sweetbreads in it. And now I'm really—OLIVER: The ship one, “Next, Please”—that's excellent.TRALDI: Yes.OLIVER: He sees the—it's like hearing the music coming, and then the ship.TRALDI: I forgot that that was the title. I forgot that that was the title.OLIVER: And then as the ship goes past, it leaves nothing in its wake. It's very sort of—very gloomy.TRALDI: It's very gloomy, yes. I think I read Larkin in a gloomy phase; it was like Larkin and Radiohead or something.OLIVER: But he's a good example of what you were saying before, that he won't think propositionally. He's logical in the sense that he's sort of orderly, and he goes from one thing to the next. But he's not being a philosopher.TRALDI: No, of course. Yes.OLIVER: But he's very preoccupied with the sorts of questions that philosophers are probing, but has a sort of very meaningful treatment of them.TRALDI: Yes.OLIVER: And I think in a way, the sharp response that you want from the reader in those questions, Larkin is better at provoking than someone like Bertrand Russell or some other contemporary of his.TRALDI: Yes, yes.OLIVER: Bertrand Russell's a bit earlier, but you know what I mean.TRALDI: No, I think that's exactly right. And I think that is why I'm a fan of the great books pedagogically and not—I don't know if Larkin will be called a great, you know, like, who knows? I don't really understand that designation, but tings like poetry and novels.OLIVER: The biggest dissenter was Harold Bloom, who said Philip Larkin's just a period piece. And he doesn't understand why everyone likes him.TRALDI: Oh, yes, well, I'm not on board with everything. Oh, I've also been—OLIVER: No, you're not very Bloomian.TRALDI: I'm not very Bloomian, I don't think.OLIVER: Either Allan or Harold.TRALDI: Yes. Well, I actually—this is very embarrassing, but I've actually never read The Closing of the American Mind, which I know is—OLIVER: But why should you? I'm not sure it's retained its—TRALDI: Well, it's certainly been received into my circle. But it is like a classic of anti-ideological—OLIVER: Sure. Have you read Adler, How to Read a Book, that kind of great books stuff?TRALDI: No. There's so many things that I haven't read. I mean, I'm just learning how to read. I learned how to read in Tulsa last year, [laughter] in Oklahoma, which is not where most people would go to learn how to read.Jane Austen and the Problem of MoralityOLIVER: So let's move to Jane Austen. Your thesis basically is, many moral theories face this problem that if I believe XYZ theory and you don't believe it, you can get the advantage of me. Because I'll always stick to my principles and you can just be a bad guy.TRALDI: Yes.OLIVER: So is morality screwed? This is what people say about liberalism. This is what you're arguing. And you think Jane Austen's got an answer to that?TRALDI: Yes, I think she has a kind of answer. And again, one decision I had to make while writing the essay was, am I going to go super—this is a completely philosophically rigorous and respectable answer? Or am I just going to kind of sketch it?OLIVER: Slum it in literary criticism? [laughter]TRALDI: Yes, I wouldn't put it quite that way, but—and I think I went for the latter, where I just wanted to kind of evoke the answer. And I think the answer has something to do with living in a large enough society where—and Austen I think is not the only person to give this answer. But you live in a large enough society where, when people see you acting well and somebody else acting poorly, the disadvantage that you have in that one interaction is outweighed by the advantages you have from the society that you gain from being seen to act well by many others.So one thing I didn't mention here, but a connection I made when I was first coming up with this idea, is that it's actually a lot like what Martin Luther King Jr. says about civil disobedience. So he says, you might think, if you're out there and the police are coming at you with bats, or the white supremacists are coming at you with bats or whatever, weapons or whatever, you might think, “I'm on the losing end of this interaction.”But actually what will happen is that this interaction will be seen by many others. And you, by keeping your calm, will be seen to be the virtuous one, and they, by being violent, will be seen to be the vicious ones. And this can only help your political cause. I'm probably abstracting some of the details of King's presentation.OLIVER: In a vulgar sense, this is the sort of “be the change you want to see” approach.TRALDI: Yes, but also, be the change you want other people to see. You know? Because that's how it gets saved from—and again, one of the ways in which this is not quite philosophically rigorous is because the philosopher can say, “Well, what about an example where nobody's going to see it? Or what about an example where the situation is set up that in doing the right thing, you're perceived to have done the wrong thing?” And you get back into tough problems. And that's why we have philosophy. You know, there's always going to be these puzzles.OLIVER: But we don't get the—I think this is what the novelists are helpful for. We don't get to set the conditions in our lives. You know, when you're doing a philosophical problem, you can just say, “Well, these are the conditions. What happens then?” And what Jane Austen is so good at is saying, “I'm going to take her and drop her in this house, and that's life. And she's just going to—she won't even know what the conditions are for a long time.” That's the novelist's preoccupation.TRALDI: Yes. Yes. It's interesting what you said about not even knowing what the conditions are. It's one thing I love, which is there in, I think, a lot of Austen—and it's done by a lot of my favorite novelists. I think Kazuo Ishiguro is really good at this. It's just novels where you see the characters' growing awareness of their circumstances and—OLIVER: Like in Klara and the Sun or something.TRALDI: Yes, or I think certainly in Never Let Me Go and in Remains of the Day, a lot of the action is in a situation where you understand what's going on better than the characters do.Clues and GamesTRALDI: And I think we talked about this the other day. In Austen, Emma, for example, is this sort of, like, halfway detective where she sees a lot of clues that could help her understand the nature of the life she's leading and the circumstances she's in, but she always misinterprets the clues. But on the other hand, it's not like she misses them entirely. She's kind of on the right track, and at least she's trying.OLIVER: And what I think Austen does so well in that book—I think it's her most important book—is that by putting us, without quite realizing it, with Emma's blinkers on, as it were, and only allowing our perspective to be her perspective, she makes us the detective.But whereas in a detective novel, you know, there's a funny little man and he is a detective, and he says, “Oh, there's a clue in this novel,” the read of—on the first read very often goes straight past what they must later realize to be a clue. And that is such a normal condition of life, that, “Oh, actually, that was one of the conditions, but you couldn't have known it. Sorry.” And you can only work it out in retrospect.TRALDI: Yes. In modern love, these are sometimes called red flags. [laughter] I think it's not quite a precise analogy, but yes, I think it's right. And I certainly—I had read Emma years ago and didn't really notice. As you say, on my first read, I didn't really notice, even having watched—I think it was the, what is it, the Kate Beckinsale version maybe, from ITV in like 1996 or something.It was really in reading it for this essay that I noticed that this feature that, starting on page 30 or 40 or so, there's a—and they're often in games. The clues are often in games. So very early on, Elton is playing some sort of poem game with Emma.OLIVER: The riddles, yes.TRALDI: The riddle game. And you know, Emma already misinterprets his riddles as being about Harriet rather than about her. But then there's also—the riddles also have some relation to things that happen much later.OLIVER: Then there's the anagram game at the end.TRALDI: There's the anagram game at the end. Yes, it's the—and I don't think there are many games like that in any of the other Austen.OLIVER: People play games, but we're not taken into them and have them narrated in that way.TRALDI: And they're not word games in general. There's card games and things like that. And you know, in Pride and Prejudice, Wickham has all these gambling debts and things like that.OLIVER: Yes.TRALDI: You know, in—I don't know if you know Whit Stillman, but for the same magazine a couple years ago I wrote about Whit Stillman, who's a sort of conservative filmmaker who's a huge Austen fan and brings in Austenian themes to a lot of his movies, but writes them about characters in the 1960s and '70s. And one of them was called The Last Days of Disco, for example, about—and some of the broader social themes he talks about are also there in Austen.So one thing that was just on the edges of my consciousness as I read through the novels for this essay was the question of the noble man versus the working man, which I think is very present in Austen and has something to do with her conception of virtue: that the virtuous person will be engaging in commerce in some way.OLIVER: Those moments of the noble and the virtuous man or whatever often take place in a shop, like the drapier in Emma or the jewelry shop in Sense and Sensibility.TRALDI: That's interesting. That's interesting.OLIVER: She's very careful to take us into a commercial situation and contrast.TRALDI: See, that is the sort of detail that I think a philosopher—I think we—the mere—the vibe of, “You're in a shop, and this means something.” I think this is something philosophers are—we can watch for the action; we can judge the characters' actions. But then there are these questions of atmosphere and milieu. And certain things happen in a shop; certain things happen at the seaside. In Persuasion there's an injury by the seaside.OLIVER: Yes. That's one of the most exciting scenes in Austen. Very dramatic.TRALDI: Yes, yes. I think actually Persuasion in some ways is quite different than her other books. It has a sort of—you know, in some ways it feels a little more like Frankenstein or Wuthering Heights at points. There's a little bit of a windblown, dark quality to it at times. It's a little bit bleaker. It's a little hard to explain why, but that's just a feeling that I had reading it that maybe had changed with some of the other literary tastes of the time.Artlessness in Austen's HeroinesOLIVER: Now, the quality that you focus on in the heroines, in this question of virtue defending itself against bad actors who break the rules, is artlessness.TRALDI: Yes. So this is a term Austen uses quite a bit, and almost always, she very much picks and chooses the characters who are going to receive this term. And I thought that this is like—it's not only her artless characters who face this question about how can morality survive, or how can virtue prevail, but I think they're the limit point.Like, if you really are unwilling to use—and I mentioned in the essay, when Darcy describes—I forget what; maybe it's him describing how he found Lydia and Wickham, or it's something to do with Wickham—he said, “I had to resort to arts.” So it must be, the “arts” back then means—one of the meanings of the term is dishonesty or subterfuge or something.OLIVER: Yes, if someone was artful, it could have—TRALDI: Yes, like the Artful Dodger.OLIVER: Exactly. Could have negative connotations for sure.TRALDI: Yes. And so the artless one, you know, they're missing something.So it's the question of, if you view—morality in a way means you're missing something, right? You've taken arts out of your arsenal. You've taken tools that could deal with certain situations, and you've just decided not to use them. So the question is, how can it be an advantage to have less tools?You know, we're here at Mercatus; the economists would tell you it's never advantageous to have fewer choices, right? There's no paradox of choice. It's never advantageous to have fewer choices. And so I think this is the—if morality is a kind of unilateral disarmament, artlessness is the clearest case of that.OLIVER: And you're seeing that in Fanny Price, Elinor—TRALDI: You see that in Fanny Price. You see that in Elinor. Harriet Smith is described as artless over and over again. And then there are these other characters who are described as artful, or other things that are mentioned as arts.I think Harriet, in a lot of ways, is the one who's most often described this way. And it's interesting because you think of Emma changing a lot in Emma, but Knightley actually shifts in his evaluation of Harriet, who he thought of as sort of an unserious person. And Knightley himself comes to recognize her artlessness as a kind of seriousness which makes her a good match, not ultimately for him, but for his dude, Robert.OLIVER: The farmer.TRALDI: The farmer, yes.OLIVER: He doesn't change his view of her social position, though.TRALDI: No, certainly not. But he does change his view of her character, basically. You know, her artlessness is not silliness. It has a sort of depth to it.And yes, certainly Fanny. In the Whit Stillman movie Metropolitan that's part of what set me on this, there's this whole discussion of the book Mansfield Park and this old Lionel Trilling essay about it where he says, how is it—there's this question about how modern people can even like Mansfield Park because we've sort of lost the notion of virtue being exciting or something.One of the most provocative lines to me in Austen was in Sense and Sensibility where it says that Elinor glories in Edward's integrity, which is an odd thing to glory in. You don't glory—nobody is on Instagram showing off their integrity, you know?OLIVER: It's like that René Gerard quote people like to pass around: “Everyone is on diet pills and nobody wants to be a saint.”TRALDI: I like that. That is very Instagrammable.OLIVER: Exactly. Exactly.TRALDI: That's very good, actually. I like that. Yes, so there's something provocative about the notion that virtue can be exciting, and in particular can be romantically exciting.The Importance of IntegrityOLIVER: Or even less than that. One thing I think is difficult for people interpreting Austen today is that virtue, whether it's exciting or romantically exciting, or the notion of integrity is of interest for its own sake.There's a lot of—you know, we have integrity as an organization. It's very important for me to have integrity as a professional. But there's not as much a sense of, just having integrity is the good life. We don't need to be complicated about this. That's just—you should just do that. And Austen's very firm on that all the way through.And criticism wants to pull her towards sometimes feminism, sometimes discussions of slavery, sometimes various other things. And she's just constantly sort of resisting that by saying, “I like integrity. I like good people. I don't think it's that hard.” It's a good line you've picked up on, I think.TRALDI: There's a character in The Wire who says, “A man's gotta have a code.” I think he's Omar, who murders the drug dealers and steals from them.OLIVER: I haven't seen it.TRALDI: So he says, “A man's gotta have a code.” And I think there is a—even in a character who in some ways is bad, we admire the integrity of having a code and sticking to it.There is this debate, I guess in moral philosophy, or at least on the outskirts of moral philosophy, about, “Well, if your code is wrong, maybe it's better not to stick to it.” I don't share that perspective. I think part of the good life is holding yourself to certain standards. And if those standards turn out to be wrong, the holding yourself is still of moral value, right? Not allowing yourself—OLIVER: It doesn't mean they're not adjustable.TRALDI: Yes, no, of course. If you decide the standards are wrong, and in Austen—OLIVER: It's sort of implicit in the idea of having standards that you will be honest and therefore accept when your standards need to be improved or whatever. Right?TRALDI: Yes, I think that's absolutely right. And in Austen we certainly see people shifting their standards. And I think one thing that I—of course, modern readers and watchers of Austen do not quite understand some of these things. But I think in Pride and Prejudice in particular, we're supposed to feel that Lizzy Bennet is quite hard on people and has to learn to improve herself in that way.OLIVER: We're delighted with her when she does that because we think it's sassy.TRALDI: Yes, exactly. If you go on YouTube, you can see all these, like, “Lizzy Bennet owning people's lives for 50 minutes,” these compilations of clips from the various movies or whatever. And she's obviously very, very clever.But she realizes—after coming to understand who Wickham is and feeling that she might not have another chance with Darcy, she comes to realize that she has had certain prejudices, which have made her blind to the realities of the world and blind to what might be her best options.So yes, I was saying I believe in integrity; that's all I was saying. And integrity obviously is adjustable, but I tend to think that it's better—even if the rule is wrong, it's better for the person who has it to hold themselves to it, rather than to adjust to try to get an advantage.And in philosophy, we have all sorts of terminology for these sorts of questions: “Are you an internalist or an externalist about reasons or about rules or whatever?” I think the more literary way to say it would just be that integrity is a virtue. And people should stick to their codes unless they see a good reason to change them.Austen and Adam SmithOLIVER: Now, you have recently been reading Adam Smith.TRALDI: Yes, I did read a lot of Adam Smith for this debate we had last week. Although I did a poor job because I had forgotten that the debate was about whether Smith was a philosopher or an economist. [laughter] I thought it was simply, is he a philosopher or not? So I put myself in the odd position of arguing that Adam Smith is not an economist.But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—OLIVER: Primarily from Theory of Moral Sentiments.TRALDI: So I would say that the notion of sympathy as being fundamentally part of how you recognize a good person seems to me to be there in Austen. The characters are—OLIVER: And this is the thing about awareness of other people and learning from that awareness.TRALDI: Awareness of other people and learning from other people and feeling other people's emotions. One thing that is related to sympathy in an odd way—and I think actually Austen and Smith conceive of it a bit differently, but that is there for both of them, in particular in Sense and Sensibility—is this notion of self-control or self-command.OLIVER: Self command. Yes. Yes.The Importance of Self-CommandTRALDI: Now, Smith gives a really odd argument about self command, which is that if you don't have control over your emotions, you will end up feeling or expressing something that other people can't sympathize with. And this is bad because sympathy is good, or something like that. I actually think it's a rather confused argument.OLIVER: I think what he's saying is that if you display a lack of self-command, then no matter what you are feeling, people find it difficult to deal with that sort of uncontrolled behavior. It's not the particular expression of feeling; it's the fact that you are a little unstable or—TRALDI: Yes, I think that's right.OLIVER: —a bit extra.TRALDI: I think what Smith doesn't do is explain quite how that's bad. But what I think is that actually, in Sense and Sensibility, it's a little bit the reverse, where actually Elinor and their mother, they do sympathize with Marianne. They do feel what she's feeling after—who's the other, the w guy in Sense and Sensibility? They're all w's.OLIVER: Oh, Willoughby.TRALDI: Willoughby, right, right. Not Wickham, Willoughby. When Willoughby—OLIVER: You can just say “the cad.”TRALDI: The cad. There's always a cad. So when the cad leaves, Marianne has all these emotions, and you really feel them. And Marianne also has a lack of self-command when Willoughby is there. There's this whole episode, which I didn't quite make the most of but felt very important, where they go to the house of this woman. They just sort of barge into this house, Willoughby and Marianne.And this is really supposed to show something about the relationship. If you and your partner barge into somebody's house, it can't be a good relationship somehow because it's leading you into bad actions. That's my sense of what that episode is supposed to show from the highest possible remove.OLIVER: I think, yes, and I think there are several other instances of that: when they ride in the carriage together, unaccompanied.TRALDI: Right, right.OLIVER: And there's a sort of general consternation about this. And Marianne sort of says, “Oh, well, how can it be a problem?” And they—part of the consternation is, you're breaking the rules in a very flagrant way, but also that you are assuming that it's okay because you'll get married. And this assumption is a very big one.TRALDI: Yes. And obviously there is this assumption that—she doesn't recognize quite how—she thinks her position is much more secure than it actually is, which is how it turns out in the book. But I think we're supposed to think that even if she were right about Willoughby's affection, which in a sense, she—Willoughby—OLIVER: No. Even if they do get married, she's broken the rules in a way that—TRALDI: She's broken certain rules in a way that is—but I think what's different from Smith is, there is sympathy from her family even though she lacks self-command. But that is precisely—so it's sort of a different theory of why self-command is good. It's precisely because her emotional state is actually draining for her family.And then Elinor says—when she learns that Elinor has actually been going through something—OLIVER: The same.TRALDI: —very similar, and maybe even rougher, in this whole thing with Lucy Steele telling her about this, you know, blah, blah, blah.OLIVER: Which is a beautiful name—to steal. I mean, it's great.TRALDI: It's an amazing—honestly, in some ways Sense and Sensibility may have been my favorite. I think it's just lovely.OLIVER: If I just wanted to just read one for fun, that's what I go to. I do, yes.TRALDI: Yes. And there's a lot—none of these things are quite perfectly in there. But I think honestly, everything that's in the other novels has a little part to play in Sense and Sensibility. You know, I think if I were to recommend just one, if somebody was like, “I have time for just one,” I might recommend Sense and Sensibility.But in the end, Marianne says—again, it's one of these amazingly evocative lines. Elinor says, “You didn't act that badly. Do you compare your conduct with Willoughby's?” And she says, “No, I compare it with—Elinor, I compare it with your conduct. You have this self-command.”And it's precisely the fact—it's not—and I think this is why philosophers do like Austen, because it's not—it's still literary, but there is a precision to her moral evaluations. It's precisely the fact that Elinor knew that her family loved her and didn't want to burden—it's all quite conscious. She didn't want to burden her family with her emotions. But you actually see that Elinor has this family trait of having very strong sentiment, which Marianne does, and simply also has this virtue of self-command.And that is—there are film adaptations and TV adaptations that demonstrate self-command, but it's a very hard thing to film. It's something you feel inside. It's a very hard—the actors have to be very good for you to see—you see pieces of it in some of the adaptations of Persuasion and some of the adaptations of Sense and Sensibility, but self-command is very hard to find.Austen AdaptationsOLIVER: Which adaptations do you like the best?TRALDI: I'm forgetting—I often like the long ones that I think were for the British ITV. So I like the—I think Kate Beckinsale was in the Emma one. Although I think there was one of Persuasion, which was also quite good. I like the one of Northanger Abbey. I don't think it's that good, but it's kind of cute, which I think it's probably the cutest of her long novels.Whit Stillman did a very loose adaptation of Lady Susan, which is hilariously funny at times, and also has Kate Beckinsale and some other great actors in it.OLIVER: Did you see the new Persuasion on Netflix a couple of years ago?TRALDI: No. No.OLIVER: It has that—is it Dakota Johnson, the actress, who's famous for other non-Austenian—Fifty Shades of Grey or whatever.TRALDI: Yes, and isn't she one of the Avengers or something like that?OLIVER: Something like that. But everyone was very upset that it was this terrible adaptation.TRALDI: Oh, yes.OLIVER: Didn't—it sort of killed all of Austen's words. She looks at the camera; she drinks from the bottle. I actually thought it was quite fun. On the basis that all adaptations are bad—TRALDI: I think if you allow some looseness, it can be quite fun. So for example, the 2005 Pride and Prejudice, I think if you're just sort of like, “Well, this is just somebody who was inspired by Pride and Prejudice,” you can have a lot of fun with the movie.OLIVER: I think as an interpretation of the book, that film is quite bad.TRALDI: Oh, yes. I think it's absolutely missing the mark.OLIVER: But in terms of like, the countryside and the house and the geese and the food, it's fantastic.TRALDI: Oh, yes. It's lovely to look at.OLIVER: The dresses, right? The clothes are amazing.TRALDI: And a lot of the—and the cast is honestly like—OLIVER: Yes, it's great.TRALDI: The cast is really, really great. And the parts as they are—OLIVER: Rosamund Pike is maybe the best Jane on TV.TRALDI: She's terrific. And who's the one who plays Kitty?OLIVER: Yes.TRALDI: Who is in—and the father is the guy from The Hunger Games. I forget his name, but I think the father is excellent in that. But of course, it's not exactly the father from Austen.OLIVER: No, no, no.TRALDI: But as a movie itself—but yes, I like a lot of these longer TV versions.One odd thing—they make these choices. So there is some scholarly apparatus brought to bear on some of them. So I think maybe it's Persuasion that there were multiple versions of, and some of the adaptations use pieces from the unpublished version, which are interesting. And as I was reading it, I had to Google around a bit and figure out these things.Austen's Moral PrecisionTRALDI: I was going to say about Austen's moral precision, the other place where I think this comes in—and I wrote a bit about this in the essay—is near the end of Mansfield Park, when—the names are what I'm worst at—when Edmund, right, is finally disillusioned with—OLIVER: Mary.TRALDI: With Mary Crawford?OLIVER: Mm-hmm.TRALDI: It's because there was this affair. There's always a sibling or a cousin who makes some horrible mistake, you know? So there was this affair, and Mary Crawford can only criticize it by saying that they weren't very prudent, you know, in prudential terms. They took a big risk. They made a bad decision. You know, they really screwed themselves over.OLIVER: They could have made it work. Yes.TRALDI: Yes. And Edmund realizes that she lacks moral fervor because he thinks the appropriate criticism should be a moral one. And as a psychological matter, it shouldn't even enter your head, I think is the idea. I'm extrapolating a bit, but if you see somebody acting this badly, to then say, “Well, geez, you're doing something that isn't in your interest”—for that to be your first thought indicates that your priorities are highly misplaced in a way that, to him, is quite unattractive.And this also struck me as a moment of—this is something we philosophers talk about. What is the distinction between prudence and morality? They both tell you what you should do, in some sense, but there's different—the shoulds have different forces, right? So Edmund has a certain moral precision and sensitivity which, actually, Fanny is basically the only person he knows—not that everybody in the house is a bad person; his father is a decent guy, and one of the aunts is okay, I think.But yes, there's a real sophistication to this evaluation. And it's funny to me that she actually used this as the—I mean, I suspect that even at the time there were readers who were just like, “Wait, I really don't get what the nature of Edmund's problem is here,” because it's not like Mary—Mary's not like, “Oh, yes, I support infidelity.” You know? She's not like— it's if you blinked, you might miss it, the mistake that Mary has made.And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.Every Word MattersOLIVER: I mean, one way people talk about the great books is to say that every word matters. And a lot of novelists will say that about their own. Well, you know, Elizabeth Bowen used to say, “What you're doing is to make everything count.” Austen is one of the examples where it's actually true. Every word is being used carefully.TRALDI: Yes. It's funny, this bears on another Twitter argument I had recently about this phrase logographic necessity. Basically, every word in a great book is there for a reason. I think that's right. Although you have to be careful about—if you were to say, “Well, every word in Plato is there for a reason, so you can't really say he's wrong about every—” you would be kind of abandoning the philosophical mission.OLIVER: I mean it in the sense of what you might call the artistic or structural integrity of the book. Not everything has to tell in the meaning sense. But it all holds as a unit for some—TRALDI: Yes. I think everything is there—there is what we could call an internal reason for everything to be there. Everything is there to hold together—OLIVER: Like the making of a piece of furniture or something.TRALDI: And I think you hear—I think this is one thing that—and not all classical music, but I think it's one thing that distinguishes classical music even from very good contemporary pop music or jazz or rock music, is that you have this sense of, “Yes, every note I hear basically is holding up a larger structure of some sort.”OLIVER: Yes. And Jane Austen is very Mozart in that way.TRALDI: Yes, I think that's right. Yes.Austen's Place in Great Books ProgramsOLIVER: So should Jane Austen have a bigger place on great books programs, based on all these things you've said about her?TRALDI: Yes, this is—so, there was actually a debate—I did not write the piece in response to this debate, but this is—OLIVER: Tanner Greer.TRALDI: Yes, there was—Tanner Greer weighed in on this, and my friend Circe. I think—OLIVER: I think they're just desperately wrong.TRALDI: You think they don't—that she—OLIVER: I think Emma is obviously a book that should be on one of these syllabuses. Maybe Sense and Sensibility.TRALDI: Yes. I think the ones I would consider are Emma, Sense and Sensibility, Mansfield Park. I do think they're actually longer than I realized, which is always—I mean, there are these very practical concerns with putting together a syllabus.OLIVER: Sure, sure. Although I want to ask you about that, because my response to a lot of these debates, which is maybe just because of where I studied, but just make them read more. And if they don't do the reading, that's their, you know—TRALDI: That's true. Well, I don't want to get into this too much. We already make them read a lot compared to—so for example, a year ago, I had my students read two novels in a week, which is more than most courses make college students read.OLIVER: But that's by no means unreasonable.TRALDI: No, no, of course, of course.OLIVER: You know.TRALDI: Well, exigencies of the teenage mind aside—OLIVER: Because I often think this, when people debate how things should be taught and why it's so important to keep these programs, and they'll talk about the importance of writing essays. And then it turns out the students maybe write one essay a semester. And I sort of think, well, who cares? All this rhetoric for one essay.TRALDI: Yes. I don't know if I'm really ever going to assign essays again. It just is—the age of AI is upon us.OLIVER: Sure. But you see what I mean.TRALDI: No, yes, I know exactly what you mean. And I do think reading a lot is the main part of—and certainly, you know, when I read all seven of these in two weeks, that's much more reading than I normally do, as well, to write this essay.OLIVER: But you didn't have to lie on the sofa afterwards with a cold compress. You were fine.TRALDI: In a way it was a really good two weeks. If you get to read—I mean, this is why we have good lives, right? If you get to read Jane Austen and you call that work, it's a nice life.OLIVER: So yes, will you be putting Emma on your program?TRALDI: I would definitely consider Emma. I would definitely consider Sense and Sensibility. I would consider Mansfield Park. I think these are the ones that have—the moral element is very prominent. But it's obviously there in all of her books.OLIVER: You can have a really good moral discussion about Mansfield Park, which is a bigger, broader thing than Pride and Prejudice, for example.TRALDI: Yes, I think so. I would definitely consider—in the 1800s there were—obviously the British novel of the 1800s was a big deal, and there's—OLIVER: [laughs] We did quite well, yes.TRALDI: You all did quite well. So the ones we did at Tulsa—we had Frankenstein and Wuthering Heights and The Picture of Dorian Gray. And then we had one Irish, The Portrait of the Artist as a Young Man. And I don't think anybody—if you replaced one of those with Emma or Mansfield Park, I don't think anybody would say, “Oh, you made a horrible call.”OLIVER: I think Tanner's point was that you simply don't have that many slots for an English novel that deals with these sorts of ideas, and that it should obviously be Middlemarch because that is the bigger novel. It's about bigger questions of society. It's about the whole—it's got more greatness in it, whereas Austen is sort of more about the individual.TRALDI: So I do think that this question of greatness—I think there are some people who read Austen and they think, “Well, this is—obviously it has all these sorts of themes, but it's not great. It has this littleness to it. It has this smallness to it.”OLIVER: It's domestic.TRALDI: That is not my reading of it. I think if that's the question, I don't feel that way. I think it pulls out these great themes about the nature of virtue and the nature of moral learning, becoming a better person, the nature of love. We read Sappho. We read the Symposium.To me, you read Wuthering Heights and you say, “Oh, this is a really big book because it's about society and how trauma gets passed down, and it has these horror elements, and it's very dark.” But actually, it's quite hard to figure out, how do we turn Wuthering Heights in a discussion about how to live? With Austen, it's just completely straightforward.OLIVER: [laughs] How not to live, maybe.TRALDI: Yes. In Austen, it's just completely straightforward. This is the discussion. This is what she had in mind as well, this question of how to live. So to me, Austen is completely—in terms of her successes as an artist, she belongs. In terms of her themes, she belongs. So I would not rule her out. I think she is absolutely a great, and who knows what that means, but I think she would be completely appropriate on any of these syllabi.Reading PlansOLIVER: Very good. And what will you read next?TRALDI: What will I read next? I mean, our—from the beginning, I'm thinking I should read some more poetry. It's been a while. Actually, speaking of—this is funny. Well, I want to get into William Empson. He had an odd life, which I think somebody should do like a movie about him or something.OLIVER: Yes, he'd make a great movie.TRALDI: I think Empson would be a good movie. So that might be—OLIVER: Are you going to read the poems or the criticism?TRALDI: Probably a little of both, but that's for a while from now. I think, you know, at the moment I'm back to reading philosophy. So what novel will I read next? That's a good question. What should I read next?OLIVER: If you like Jane Austen?TRALDI: Yes.OLIVER: Maybe read one of the people that she admired, like Samuel Richardson or Fanny Burney, someone like that.TRALDI: You know, I do think—you saying Samuel Richardson reminded me, I've read very little Samuel Johnson. I think reading some of the great critics, I think, writing this piece—OLIVER: Oh, Johnson, yes. You would like Johnson.TRALDI: I think I would like Johnson. I think I would like Empson. The history of literary criticism is something I have very, very little idea of.OLIVER: Oh, well, then, Johnson. I mean, he's the best.TRALDI: Yes, I think I should, I should definitely read Johnson.OLIVER: English literary criticism begins and ends with Samuel Johnson.TRALDI: You know what, this is a little different, but—I might have talked about this with you a little bit—I want to read The Fable of the Bees, Mandeville, because reading about Smith—a lot of the ideas that we think of as Smithian are actually Mandevillian, and he kind of moderated them.OLIVER: Well, he hated Mandeville.TRALDI: Yes.OLIVER: Very hard on him.TRALDI: Yes. So a lot—like the invisible hand, it's only a small part of Smith's thinking, but it was like the entirety of Mandeville's thinking, this sort of dynamic.OLIVER: Well, I think it means different things for them. I think Mandeville, in a funny way, is more philosophical in the sense you were saying, and trying to make these propositions. And Smith was saying, “Well, what about feelings? What about all these funny things that we can't account for? Like, look around. It's too messy.”TRALDI: No, that makes sense to me. Yes, I think between Mandeville and Smith, Mandeville is somebody who thought virtue was sort of like a con.OLIVER: A fool's game.TRALDI: Exactly. You're sort of a sucker if you try to be virtuous.OLIVER: I think he also just assumed that if you were commercial, you were obviously on the get.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?In philosophy, we do ask, what is a good character and what is the good action in this sort of situation? What is the bad action in this sort of situation? But it's not for the philosopher to say, “Okay, in the sorts of situations you're likely to be in, what do you pay—where do you direct your attention to try to figure out these things about?”And it's not—I don't think Austen—it's not super subtle either. In Persuasion—I mentioned in the essay—in Persuasion, it starts out by saying Anne really cared about paying off the family's debts, and the rest of her family didn't give a s**t, you know? And it's sort of like, okay, so we just immediately are like, Anne's the sort of person who you might want to have a business transaction with because if she has a debt to you, she might actually pay it. And I forget if that's the exact detail, but it's something like that, you know?OLIVER: And there's also the novelist—Jane Austen is very good at what you don't see, which aga

This is the final episode of our Greek Pantheon series (sad times), we explore the deities who exist on the edges of Olympus. Those who challenge, disrupt, or quietly sustain. We dive into Dionysus, god of sacred chaos, release, and creative freedom, and Hestia, goddess of the hearth, home, and stillness. Then we explore powerful “wild card” figures: Nyx, the primordial force of night. Circe, the solitary witch of transformation. Eos, goddess of dawn and new beginnings. Finally we speak about Pan, the embodiment of wild instinct and the origin of panic itself.Together, we unpack their myths, symbolism, and how their energies might show up in your life from creative urges and shadow work to rest, ritual, and reclaiming your wildness.Order Molly's book Mundane Magic A Lazy Witch's Guide to Hacking Your Brain, Building a Daily Practice, and Getting Stuff DoneJoin our Patreon for bonus episodes, magical downloads, and unhinged side quests: https://www.patreon.com/demystifymagic

In this episode of Chronicles, Luca and Stelios conclude their discussion of the Argonautica. They explore the Argonauts' escape from Colchis, their encounter with Circe, and their suffering in Libya.

Hello listeners! I hope you have had a chance to check out our interview with Chelsea Gardner and Melissa Funke of Peopling the Past, which aired earlier this season.  As a follow up, they have generously allowed us to do a Podcast Takeover of one of their episodes!  We here at 34 Circe are big fans of Wonder Woman, so although it's not a typical episode for them, we are sharing the one in which they discuss Wonder Woman and other classics in comics with Dr. Natalie Swain.  We hope you enjoy, and check out the rest of their episodes at peoplingthepast.com

On this episode of Peace Bound and Down: A Wonder Woman Podcast, Sean is joined by Keith G. Baker to discuss Wonder Woman Vol. 2, Issue 17! Diana visits modern Greece; Julia has a moustache for a boyfriend, and are you ready for the coming of Circe?! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Fire & Water website: http://fireandwaterpodcast.com Fire & Water Facebook page: https://www.facebook.com/FWPodcastNetwork Fire & Water on Twitter/X: https://x.com/FWPodcasts Fire & Water on Bluesky: https://bsky.app/profile/fwpodcasts.bsky.social Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Promos: Coffee and Comics Podcast Bringing a little peace to man's world each month.

“… And Ulysses looked at Circe, his brow furrowed and his gaze fixed on the distance, and looking at the infinite sand dunes by the sea, he replied: ‘Her heart must be that of a child, who despite the passing … VOODOO LOPEZ – CONSCIOUS Read More » The post VOODOO LOPEZ – CONSCIOUS first appeared on Dogglounge Deep House Radio | Streaming Deep House 24/7.

This episode explores Circe in Greek mythology through Homer's Odyssey, presenting her as a powerful sorceress and full goddess born to Helios and a sea nymph, embodying balanced sun-and-moon energy. Circe is known as a powerful witch with vast knowledge of potions and herbs. On her lush, animal-filled island, she welcomes Odysseus's men to a feast laced with potions that transform them into swine as a mirror of their recent war behavior. Warned by Hermes and protected by Athena's herb, Odysseus resists Circe's magic, confronts her, and they become lovers, living together for years and having three sons; she later restores his men. Circe then teaches Odysseus necromancy—witchcraft with the dead—so he can enter the underworld, consult an expert, and learn how to navigate back to Ithaca. Circe, a powerful witch and left on her solitary island, will help you to explore power, ethics, self-knowledge, and intent in magic. If you are loving this podcast and you feel really motivated or compelled to share, please donate to this podcast: Donate here Connect with the Goddesses:  https://www.goddesswitchwomb.com  Follow us on Instagram: https://www.instagram.com/goddesswitchwomb/  Follow us on TikTok https://www.tiktok.com/@goddesswitchwomb

In this episode of The Classical Mind, Dr. Junius Johnson sits down with Buck Holler from the CiRCE Institute to discuss "Tapestry," a new writing and grammar curriculum designed to bridge the gap between early elementary studies and the advanced persuasive essays found in The Lost Tools of Writing. Holler explains that for twenty-five centuries, the study of grammar and literature were considered a single, unified discipline, an organic connection that was largely severed during the Enlightenment. By re-integrating these fields, the curriculum moves away from the modern trend of teaching grammar through isolated, "zigzag" sentences and instead grounds linguistic study in the rich soil of full stories, including Aesop's fables, Arthurian legends, and sacred Scripture. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theclassicalmind.com/subscribe

We sat down with some of the legends at Natural Selection Tour 2026, plus a few of the people behind the scenes who keep the whole thing moving. Featuring - Travis Rice, Mark McMorris, Blake Moller, Billy Pelchat, Zoi Sadowski-Synnott, Yuki Kadono, Circe Wallace and Liam Griffin. Hosted by Jody Wachniak and Darrah Reid Mclean A heavy mix of legends and next up riders. These conversations went down in Revelstoke, right in between qualifiers and finals… so yeah, it's a bit raw and there's some background noise. I debated not using it but the conversations were too good to leave on the table. Appreciate you tuning in, this one's got some real gems in it. Enjoy.  Presented by Monster Engery Supported by Gibbons Whistler, Arc'teryx, The Source, Vans, Baldface Lodge Thumbnail Photo - Rob Lemay

Trinachia - Prima parte C'è un limite che non si può attraversare. Lo dicono tutti: Tiresia nell'Ade, Circe a Eea, Odisseo stesso ai suoi compagni. “Non toccate le vacche del Sole.” Chiaro, semplice, assoluto. Ma i divieti assoluti hanno un problema: presuppongono circostanze normali. E quando le circostanze smettono di essere normali, anche il sacro comincia a sembrare… negoziabile. Questo episodio esplora il momento in cui l'inviolabile incontra l'insopportabile. .-.-. Vuoi saperne di più sull'episodio? Vai qui e leggi gli approfondimenti: https://it.tipeee.com/mitologia-le-meravigliose-storie-del-mondo-antico/news .-.-. Per avere informazioni su come puoi supportare questo podcast vai qui: https://it.tipeee.com/mitologia-le-meravigliose-storie-del-mondo-antico/ Se ti va di dare un'occhiata al libro “Il Re degli Dei”, ecco qui un link (affiliato: a te non costa nulla a me dà un piccolissimo aiuto): https://amzn.to/3Q50uFR Se ti va di dare un'occhiata al libro “Eracle, la via dell'eroe”, ecco qui un link: https://amzn.to/46dAFYZ Altri link affiliati: Lista dei libri che consiglio (lista in continuo aggiornamento): https://amzn.to/3Q3ZYI9 Lista dei film che consiglio (lista in continuo aggiornamento): https://amzn.to/3DoqTa7 Lista hardware che consiglio per chi è curioso del mondo per podcast (lista in continuo aggiornamento): https://amzn.to/44TYKTW Uso plugin audio da questa Software House: Waves. Se vuoi dare un'occhiata, anche questo è un link affiliato: https://www.waves.com/r/1196474 Ami musiche rilassanti e i suoni della natura? Iscriviti a questo meraviglioso canale  https://www.youtube.com/channel/UCbRZLgwT37437fYK4YYKhXQ?sub_confirmation=1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Wow. The stories we heard from Thomas were both mind blowing and enlightening! From communication with the gods to mushroom foraging to sacred entheogenic ceremonies and so much more. Stay Weird!To Follow Us On Patreon—> https://www.patreon.com/c/MetaMysticsEmail Us!—> MetaMystics@yahoo.comSubscribe to our Youtube—> http://www.youtube.com/@MetaMysticsTo Follow Us On TikTok—> https://www.tiktok.com/@metamysticsGive us a follow on Instagram—> @MetaMystics111To find Tom's Substack—> Substack.com/@tomhatsisTo find Thomas on IG—> Tom.HatsisBecome a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

Wow. The stories we heard from Thomas were both mind blowing and enlightening! From communication with the gods to mushroom foraging to sacred entheogenic ceremonies and so much more. Stay Weird!To Follow Us On Patreon—> https://www.patreon.com/c/MetaMysticsEmail Us!—> MetaMystics@yahoo.comSubscribe to our Youtube—> http://www.youtube.com/@MetaMysticsTo Follow Us On TikTok—> https://www.tiktok.com/@metamysticsGive us a follow on Instagram—> @MetaMystics111To find Tom's Substack—> Substack.com/@tomhatsisTo find Thomas on IG—> Tom.HatsisBecome a supporter of this podcast: https://www.spreaker.com/podcast/meta-mystics--5795466/support.You Don't Know What You Don't Know!

This week, we dive headfirst into Absolute Wonder Woman — a reimagining of Diana raised in hell by Circe — and we can't stop talking about how good this book is. We break down why this version finally captures the heart of Wonder Woman, why compassion is her real superpower, and why this heavy-metal redesign absolutely works. Along the way, we detour through Conan, grindhouse cinema, crocodile cult horror, and Peter's descent into AI-powered app building. It's a wild one — but mostly, we're here to say: go read this comic.Show NotesOpening Catch-Up

La Odisea es, junto a la Ilíada, el gran poema épico de la antigüedad clásica. Pero va mucho más allá, es la base de todos los relatos que versan sobre el viaje, la pérdida y el anhelo de volver a casa. La Ilíada, cuyos mitos veíamos en una ContraHistoria hace solo unas semanas, se centra en la furia de Aquiles y el estruendo de la guerra de Troya. La Odisea, también atribuida a Homero, nos sumerge en las consecuencias de esa guerra a través de los ojos de Ulises u Odiseo, el héroe que prefiere el ingenio a la espada. La historia comienza diez años después de la caída de Troya. Nos presenta a un hombre que ha perdido todo excepto su deseo de recuperar su identidad como rey, marido y padre en la pequeña isla de Ítaca. Lo que hace que este relato siga siendo fascinante miles de años después es su estructura fragmentada y muy moderna. La narración no es lineal. Comienza en el mismo nudo de la trama, con el hijo de Ulises, Telémaco, buscando desesperadamente noticias de su padre mientras los pretendientes de su madre devoran su herencia. Esta primera parte nos muestra el vacío que deja la ausencia del héroe. Es entonces cuando el propio Ulises toma la palabra en la corte de los feacios para relatar su propia historia, una historia que se cuenta por desgracias. Aquí el poema se transforma en un viaje prodigioso, una sucesión de encuentros fantásticos que funcionan como metáforas de las debilidades humanas: el olvido provocado por los lotófagos, la fuerza bruta sin inteligencia del cíclope Polifemo, la elección entre dos males que representan Escila y Caribdis o la tentación carnal y mágica de Circe y Calipso. A diferencia de los héroes tradicionales que persiguen la gloria eterna en el campo de batalla, lo que mueve a Ulises es el “nostos", el regreso al hogar. Su viaje por el Mediterráneo es una lucha constante contra el olvido y contra su propia deshumanización. Cada monstruo que enfrenta es un obstáculo que intenta apartarlo de sí mismo. Poseidón, el dios del mar, actúa como la fuerza implacable del destino que castiga su orgullo, mientras que Atenea representa la sabiduría que lo guía. El viaje es físico si, pero sobre todo psicológico. El guerrero asistido por su astucia debe debe aprender que la paciencia y el disfraz son a menudo mucho más efectivos que la espada. El clímax de la obra ocurre cuando el héroe llega finalmente a su patria, la pequeña isla de Ítaca. No regresa al son de las trompetas, sino como un mendigo andrajoso, una prueba final de humildad y la muestra definitiva de su que Ulises, antes que cualquier otra cosa, es el primer gran estratega. La famosa matanza de los pretendientes y el posterior reconocimiento con su esposa, Penélope, cierran un círculo que no enaltece a la venganza. Ulises simplemente consigue, tras muchos años de sacrificio, restablecer el orden natural de las cosas. Penélope, que ha resistido valiéndose de una astucia igual a la de su marido, se convierte en el pilar que da sentido a todo el sufrimiento previo. La Odisea es un pozo de enseñanzas, pero la principal es que el verdadero heroísmo no reside en conquistar una ciudad, sino en tener la fortaleza necesaria para volver el lugar al que pertenecemos. Para hablar de la Odisea, del viaje de Odiseo, de la época en la que fue escrito y del significado de esta obra tan importante nos acompaña hoy en La ContraHistoria un buen amigo de este programa, Yeyo Balbás. Bibliografía: “Odisea” de Homero - https://amzn.to/4cm2zIJ “Odisea” (guía de estudio visual) - https://amzn.to/3ZY0JGw “Homero y su Ilíada” de Robin Lane Fox - https://amzn.to/4aTXRPQ “En busca de la guerra de Troya” de Michael Wood - https://amzn.to/4cQkM13 “El mundo de Homero” de John Freely - https://amzn.to/4aOxH0P · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #odisea #ulises Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

On today's episode, Matushka Melissa interviews Presbytera Jennifer Souza about the new Orthodox homeschool health class being offered by the Classical Learning Resource Center often known as CLRC. The course features presentations by well known and respected Orthodox clergy and scholars. Early enrollment will be for live classes and is a unique opportunity to help shape the recorded classes that will be offered later. For more information, visit: https://www.clrconline.com/orthodox-health-course-for-parents/ About today's guest: Presvytera Jennifer Souza is a classical teacher and curriculum developer with over 17 years of teaching experience. Jennifer completed her BA in Interdisciplinary Studies & English from Belmont Abbey College, is a CiRCE certified Classical Teacher, and is currently pursuing her Masters in Theological Studies, with a concentration in Patristics & Pedagogy, at Hellenic College Holy Cross. She has taught humanities, logic, writing, rhetoric, and the fine arts since 2009. She is the founder of Eastern Orthodox Charlotte Mason Homeschoolers Facebook group, was a contributing author for The Lost Tools of Writing Level 1, published by The CiRCE Institute, and is the former co-host of The Classical Homeschool Podcast. Her research interests include Classical Rhetoric, Classical Pedagogy, The Liberal Arts, Literature, Letters, and Fine Art Studies, The Intersection of Education and Healing, Education and Pedagogy through the lives and writings of the Saints, Patristic Fathers, and Iconography.

Brenna and Joe wrap up our coverage of Percy Jackson with a look at Disney +'s Percy Jackson and the Olympians S02.It's an improvement on the film in every way, including the depth of characterization for the central trio, the great depiction of Tyson, and a fantastic episode featuring Circe.There are, however, still a few missteps, including Mr. D and Tantalus (UGH), occasional slavish to Rick Riordan's source material, and a finale we kinda hate. Wanna connect with the show? Follow us on Instagram and BlueSky @HKHSPod or use the hashtag #HKHSPod:> Brenna: @brennacgray> Joe: @bstolemyremote (Instagram) or @joelipsett (BlueSky)Have a mail bag question? Email us at hkhspod@gmail.com Theme music: Letra “Like A Bird” Hosted on Acast. See acast.com/privacy for more information.

Unlimited Leaguers, this one has it all.  Dueling magicians, Wonder Woman as a pig, and Batman the crooner are all in this entertaining story! Circe has gotten out of her prison in hell and holds a big grudge against Diana's mom. She can't hurt her, but she can attack Diana. Batman & Wonder Woman are on a stakeout and try to catch Circe, but she transforms Diana into a pig. Batman contacts Zatanna, but her magic cannot counter the spell of the gods. While Batman & Zatanna search for Circe to get her to reverse the spell, Wonder Pig leads B'wana Beast and the League on a chase through town. She ends up at the slaughterhouse. She almost makes her escape, but she gets caught and is hogtied, facing certain slaugher. Batman and Zatanna find Circe out singing the sirens in Greece. They disrupt her show and the magic begins to fly on both sides. Batman calls a stop and offers a trade to reverse the spell. He sings "Am I Blue" and leaves the crowd in tears, including Circe and Zatanna. Diana is saved and knows that Bruce has feelings for her.   Contact Information: If you want to join in the discussion, you can submit feedback via email to TomorrowsLegendsPodcast@gmail.com or at at https://www.speakpipe.com/TomorrowsLegends . Please submit all feedback by 7:00 pm eastern on Friday. You can also join the Facebook group at www.facebook.com/groups/tomorrowslegends. Answer all the questions and agree to the group rules to be accepted. You can follow us on X (formerly Twitter) @tomorowslegends, on Instagram  and Threads @TomorrowsLegendsPodcast. We are also on Blue Sky at @TomorrowsLegends .  You can support the show on our Patreon page! https://www.patreon.com/TomorrowsLegends You will get access to bonus content like advanced releases, extra questions answered, hang-out sessions, bonus episodes, and merchandise of course!

I have an uncle who used to sing the craziest (and often off-color songs). He was a WWII vet and looked like the Canadian actor Lorne Greene. He would rip out the kinds of songs that sailors sang and I would rush to write down the lyrics so I could learn them. And learn them I did. The hard way. It was irritating and frustrating. Even though they say the hand builds the mind and it wasn’t the end of the world that I spent so much time writing them down and rewriting them, I was still relying on rote learning. If only I knew then what I know today about memory techniques! You see, I now memorize and regularly demonstrate poems I’ve committed to memory almost every month during my live memory training bootcamps. I’ve memorized everything from ancient Sanskrit poems to some of the most inventive contemporary poetry. And today I’m going to share a few case studies and key tips I know you’re going to love. How to Memorize Poetry Fast The fastest way I know to memorize poetry involves a combination of ancient memory techniques. These are: The Memory Palace Technique Alphabetical association Numerical association (where relevant) Spaced repetition based on solid active recall principles Now, I know that weaving together so many memory techniques to memorize poetry or even song lyrics, sounds like a lot. But if you want to memorize poems fast, stick with me. Bringing all of these strategies together is much easier than it might seem at first glance. But first, let me demonstrate that I can actually memorize poetry. I believe proof is important because there are a lot of people out there who talk about skills they cannot do. In the case of mnemonics, there are even entire forums filled with people giving advice about memory techniques when they clearly haven’t lifted a finger to memorize a poem. That, or they’ve used rote memorization and are only pretending they used mnemonics. So with those issues in mind, here are a few examples. Please be sure to watch each example because I will refer back to these recitations to help you rapidly memorize poems of your own. Example One: A Univocalic Poem In this video, you’ll see me at the Memory Palace Bookshop I’m developing practicing the recitation of a univocalic poem by Christian Bök: https://youtube.com/shorts/b6oFIOnAwng?feature=share That’s from a fantastic book of poetry called Eunoia. Example Two: Shakespeare This video not only shows me reciting lines from Titus Andronicus. It includes a very important teaching point. That’s because I also demonstrate reciting the lines forward and backward to help teach you how to more easily commit even the most difficult poem to memory using a process I call Recall Rehearsal: https://youtu.be/nhjIkGu32CA?si=s6gIJz6Poq9Zpo6C&t=1380 Now, I regularly memorize Shakespeare. But in the case of the example shared in the video above, I had a special purpose in mind. I was doing it to reproduce the memory technique Anthony Hopkins describes in his autobiography. Here’s the full case study. Example Three: Song Lyrics In this video, you’ll see and hear me singing a famous song called The Moon Represents My Heart in Chinese: https://youtu.be/dCyPV6qfKkI The entire song took just over forty minutes to commit to long-term memory. Even though it’s been a few years since I sang the whole song, I still remember most of the lyrics to this day. Every once and awhile, I whip it out and it always brings a smile to my wife’s face. The reason this Chinese poem set to music took a bit longer to memorize other poems I’ve memorized is because it’s in a foreign language that I was only just beginning to study at the time. Example Four: Poetry Quoted in a Speech When I wrote my TEDx Talk, I incorporated lines from a Sanskrit piece called the Ribhu Gita. This was an interesting challenge because it called me to recall the speech and the poetry that had already been memorized. https://www.youtube.com/watch?v=kvtYjdriSpM This particular performance was a lot of fun, but also challenging due to the combination of a live audience, cameras and the fact that the world was starting to go into lockdown at the beginning of Covid. I had a lot on my mind, but thanks to the memory techniques you’re about to discover, I still think the talk came off fairly well. It’s been seen over four million times now, so I must have done something right. Example Five: Real-Time Poetry Memorization If you want to see me memorize in real time, check out this discussion with Guru Viking. Steve, the host, throws Shakespeare at me and I memorize a few lines and discuss how I did it in real time: https://www.youtube.com/watch?v=J62IN_ngYH0 Now let’s get into the steps, many of which come directly from my premium course on memorizing poetry. Step one: Use the Memory Palace Technique A Memory Palace is essential for memorizing poetry, or anything verbatim. What is this technique? A Memory Palace is a mental recreation of a familiar location. For example, in the first video example above from the poem Eunoia, I used my mom’s home from where she lived years ago. I moved from the master bedroom to the kitchen and living room, to a few other bedrooms and finally out the door and down the driveway in front of the house. How to Memorize a Poem in an Hour (or Less) Using This Technique Using the method of loci, you place mnemonic images along a mental journey. As I just mentioned, I started in one room, then moved to the kitchen, the living room, and so forth. On each corner and wall, I placed an association. For example, for the line, “Awkward grammar appals a craftsman,” I placed an image of Apollinaire in a state of awe changing into being appalled. Now, what exactly it means to “place” an association along a journey in an imaginary version of a building can feel a bit abstract in the beginning. But basically, you’re taking a corner, a wall or a piece of furniture and elaborating it with strange, exaggerated ideas and feelings that remind you of each word of the poem or song lyric. You can do it in any language and if you look at the Guru Viking video above, you’ll see me demonstrate exactly how and why it works in any language. In that particular example, I use the wall behind me for Shakespeare in the same way I memorize Sanskrit phrases when memorizing ancient mantras. To Speed Up The Process When You’re Just Starting Out, Do This Learning to use the Memory Palace technique can feel challenging in the beginning. To reduce the cognitive load, I suggest making a quick sketch of a familiar location that you will turn into a Memory Palace. You don’t have to be artistic. I don’t try to make fine art of it at all. To wit, here’s a quick sketch of a bookstore in the Zamalek area of Cairo I have used many times to memorize poetry and other types of information: A Memory Palace drawn on an index card to maximize its value as a mnemonic device. This one is based on a bookstore in Zamalek, a part of Cairo. The reason for drawing out the journey is to get it clear in your mind. That way, you can spend more time on the next step. But failing to simply draw a Memory Palace in advance can lead to a lot of unnecessary frustration. That’s because you will ultimately wind up trying to encode the poem while developing the Memory Palace at the same time. To memorize any poem as quickly as possible, you need to separate the two activities. Step Two: Lay Down Your Associations One Word At A Time (Most Of The Time) Shakespeare opens King Henry the Fifth like this: O for a Muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act And monarchs to behold our swelling scene! When I memorized these lines, I started at station one with an image of the constellation Orion over the Statue of Liberty. Using the pegword method, I associated Orion with O. Then, using the general concept of a woman that inspires people, I placed the Statue of Liberty in the Memory Palace. In this case, the Memory Palace was a workplace where I was writing curriculum in Vancouver, B.C., Canada. You might choose a completely different image for the words “muse of fire.” But the technical point is that you want to find a direct sound and spelling correspondence that is: Based on ideas and images already in your memory Makes sense to you Making sure that the associations you choose are personal is part of what scientists call active recall. For me personally, Lady Liberty is an especially apt choice not only because she represents inspiration, as the muses. She’s also holding a torch, which helps me encode the word “fire.” But I also lived in both Manhattan and Brooklyn for awhile and often crossed the Manhattan Bridge. This makes the memory of the Statue of Liberty even stronger for me, and another reason why you need to think about the images that make most sense for you. How to Associate “Little Words” for Rapid Memorization What about a word like “that”? Tricky and abstract, right? Not really. You just need to pick an association that makes sense to you while sounding or seeming as close as possible to the target information as you can get it. In the case of the Henry the Fifth line, I just took “th” and linked it with Thor and then used rhyming to have him put on a hat in a dramatic way. Thor + hat = that. When it comes to the Bök poem, there’s a part of the sequence (full poem here) where I used Thor with his hat again: Awkward grammar appals a craftsman. A Dada bard as daft as Tzara damns stagnant art and scrawls an alpha (a slapdash arc and a backward zag) that mars all stanzas and jams all ballads (what a scandal). For a small word like “all,” I used the Punk Rock band All, but only in part. Drawing upon the mnemonic teaching of people like Peter of Ravenna, Jacobus Publicius and Giordano Bruno, I used the principle of reduction. Rather than imagine the entire band, or even an entire mascot, I just imagined the eyes of the mascot. To memorize at speed, I suggest you practice this principle of reduction. Also develop what I call the Magnetic SRS in my full poetry course in the Magnetic Memory Method Masterclass. By taking an hour or so to assign association to all the pronouns and other “operator” words like “that,” you won’t have to stop and come up with associations ever again. The Magnetic SRS training in my full program goes into further detail. It will help you develop dozens of images for words that seem like they’ll be tricky or repetitive. Done well, they can be used repeatedly, but never cause confusion. Step Three: Memorize Multiple Words When You Can Memorizing more than one word in a poem at a time is called mnemonic compression. This term can mean more than one thing. But in this case, I’ve technically just given you a description of how compression works with the Statue of Liberty example. After Orion for O, she represents five words: “for a Muse of fire.” In this case, it works because I’m familiar with the workings of English grammar. But you can’t always get away with this kind of compression, especially when memorizing poetry in another language. It’s just best to keep an eye out for compression opportunities as much you can. When I memorized my TEDx talk using these techniques for speech memorization, thanks to compression, I loaded one station in my Memory Palace with up to 17 words using just 3-5 images (depending on how you count them). Keep in mind that you don’t have to start with poems with long passages like the ones I included in my TEDx Talk. A lot of people like to start with short Bible verses. I’ve put together a list of Bible verses to memorize that address the theme of memory if you’d like to select a few for practice. Step Four: Use Intelligent, Creative Repetition As I mentioned above, rote learning is a real problem. What you want instead is something called spaced repetition. It provides a simple means of reviewing memorized material on a schedule that keeps it in memory. Different poems and lyrics will require different amounts of repetition, and it’s not easy to predict in advance how much content will require how much repetition. However, there’s something called context-dependent memory. Basically, it gives you a boost when you use a lot of content frequently. Or read continually within particular categories of information. So if you read literature and quote it often, you’ll probably need less repetition than someone who doesn’t. And if you memorize the sonnet form more than free verse, you’ll likely develop a stronger and faster reliability because you’ve internalized its rules. Creative Repetition for Long-Term Maintenance For most of us, poems will fade over time no matter what we do. Fortunately, there are creative repetition strategies that can help make sure you maintain them. One is to follow in the footsteps of geniuses. For example, Anthony Hopkins keep common place books where they store and regularly revisit favorite poems. People like Thomas Jefferson used this strategy too. Another strategy is to use reflective thinking to compare various poems you’ve memorized. You can do this from poem to poem or between poems and your favorite philosophy books, historical events, etc. Finally, look for opportunities to recite the poems. Even if you just quote isolated lines, this smaller recitation will help keep the full poem within your mental reach. 3 Alternative Ways To Memorize Poetry You might be wondering if it’s possible to memorize poetry without using the Memory Palace technique. Indeed, there are. Here are some options. Rote Repetition Although I personally don’t like how rote learning feels, it is an option you can explore. It’s a slower option for most of us. But one simple way to get more mileage out of sheer repetition is to choose the time of day and location where you practice it strategically. You’ll need a lot of focus and concentration on top of sheer will power to keep repeating the same lines without the fun of mnemonics, so make sure you aren’t interrupted. I’d also suggest focusing on shorter poems for use with rote. That way you can memorize more poems in their entirety and enjoy substantial accomplishments more often. Cloze Methods A cloze test involves showing yourself parts of a poem. As you read through the poem, you try and fill in the blanks. This activity can trigger some of the positive benefits of active recall. Here’s an example of how you would apply the cloze test methodology to help yourself remember The Tyger by William Blake: Tyger Tyger, burning _____,  In the _____ of the night;  What immortal ____ or ____,  Could _____ thy ______ ______? Visual Flashcards Finally, if you’re willing to make simple drawings, you can draw on flashcards. This approach is kind of like a visual cloze test. Instead of hiding the word “bright” in the phrase “burning bright,” you would sketch an image that helps trigger the phrase. I’ve done this a fair amount with memorizing the books of the Bible. It’s a fast and easy way to help the mind make connections without having to use a Memory Palace. That said, drawing can take a lot of time. I would save this approach for when you feel like an experimental learning experience. How to Practice Reciting Poetry from Memory There are three key ways that I practice reciting poetry, not only to ensure that they’re locked in long-term memory. The point is also to get the lines as fluid as possible and bring out various parts you want to emphasize. After all, it’s not fun to sound robotic. The point of poetry is to convey meaning and beauty, humor or to stimulate some kind of emotion. One: Write the Poetry from Memory Another aspect of proper active recall practice is to call the information to mind by revisiting your associations in your Memory Palace, then write the words down. When writing out what you’ve committed to memory, don’t worry about mistakes. If you catch yourself making a mistake, just scratch it out. Then, once you’ve written as many lines as you can recall, test them against where the verse is written in a book or online. Here’s an example of a test from another part of Eunoia I recently memorized:   At this point, I hadn’t memorized the entire poem and had to start a new journal. But the important point is to test in this exact manner so that you don’t fall into rote repetition. Two: Recite Verbally As demonstrated in several of the video examples above, I practice recalling the poetry verses from memory out loud. This step is important because it gets the poetry into the muscle memory of the mouth. And this is the best way to practice adding gravitas to your performance. I suggest that you also recite the poetry out of order as you see in the Anthony Hopkins video above. This will give each line primacy and recency using the serial positioning effect, as was codified by Hermann Ebbinghaus. During the learning process, it can also be helpful to make up a little tune to go with the poetry. Even if you don’t sing it later, there’s something to chanting and singsonging that aids memory. This is something Bruno notes in his memory guide, Cantus Circaeus (Song of Circe), available in this English translation. Three: Recite Mentally It’s also valuable to practice reciting what you’ve memorized purely in your mind. You can do this solely by reciting the lines while moving through your Memory Palaces. Or you can do it without thinking of the Memory Palace journey, which is a point you should practice as soon as possible. If you are going to perform the poem live, it’s also helpful to imagine yourself delivering it live on camera or in front of an audience. I’ve done all of these things and it has really helped make sure my performance is fluid. But it also creates that priceless feeling of preparation. Your audience will appreciate your delivery much more as well. Make Poetry Memorization Part of Your Daily Life Finally, I’d like to discuss how to make poetry memorization a daily activity. We’re all different, but I personally prefer to encode new poems during the morning. This is simply because my energy is highest. Then I practice reciting in the evening. You might find that you prefer the opposite pattern. The key is to experiment, all based on having developed your mnemonic tools. Plus, it only makes sense to have a lot of poetry that you like within reach. Along with having the right memory techniques for this kind of verbatim learning task. That’s ultimately the most important tip of all. To get fast with memorizing poetry, you need to have your mnemonics prepped in advance. If you’d like more help on how the Memory Palace technique and related mnemonic strategies will help you memorize poems of any length, please consider signing up for my FREE Memory Improvement Course: It will take you through developing Memory Palaces for memorizing any poem at speed. Those poems can be as short as a simple song or as long as the Bible (which as I discuss in this tutorial, is possible to memorize). Or you can memorize songs from your weird uncle like I often did… even if I can’t always repeat them in polite company. Frankly, I wish I’d known these techniques back when I was young. Not only because I’d remember more of the words to the songs he sang. I’d remember more about him too. And that’s ultimately the greatest thing about memorizing poetry. We’re memorizing the ideas, feelings and images that impacted others, literally integrating ourselves with the stuff of life through memory.

Today we are talking waterproof products, Circe's makeovers, lip stains, creating Thalia's iconic eyeliner look, gels and oils and sealants and solvents, and of course, the good old fashioned spray bottle full of water. Thank you so much Naomi for joining us! We adore you!!!Follow Naomi on instagram for BTS content: https://www.instagram.com/naomibakstadmakeup/?hl=enLike this content? Support our podcast on Patreon! There you'll find exclusive episodes, access to our exclusive Patron Discord server, episode outlines, live watch parties, and more!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/seaweedbrain⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Don't wanna subscribe? You can always buy us a coffee: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/seaweedbrainpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow our show:Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SeaweedBrainPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SeaweedBrainPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@EricaSeaweedBrain⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SeaweedBrainPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/Seaweedbrainpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our merch shop! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/stores/seaweed-brain-podcast?ref_id=21682⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Dall'oscurità dell'Ade alla luce del giorno. Odisseo e i suoi compagni tornano a Eea, ma sono cambiati. “Due volte mortali”, li chiama Circe. Hanno toccato la morte restando vivi. C'è una promessa da mantenere a un compagno caduto. C'è un addio da dare. E ci sono parole sussurrate nella penombra: nomi di pericoli che attendono oltre l'orizzonte. Questo episodio segna un punto di svolta. Un confine tra ciò che è stato e ciò che sarà. E nasconde qualcosa che cambierà il destino dell'eroe per sempre. .-.-. Vuoi saperne di più sull'episodio? Vai qui e leggi gli approfondimenti: https://it.tipeee.com/mitologia-le-meravigliose-storie-del-mondo-antico/news .-.-. Per avere informazioni su come puoi supportare questo podcast vai qui: https://it.tipeee.com/mitologia-le-meravigliose-storie-del-mondo-antico/ Se ti va di dare un'occhiata al libro “Il Re degli Dei”, ecco qui un link (affiliato: a te non costa nulla a me dà un piccolissimo aiuto): https://amzn.to/3Q50uFR Se ti va di dare un'occhiata al libro “Eracle, la via dell'eroe”, ecco qui un link: https://amzn.to/46dAFYZ Altri link affiliati: Lista dei libri che consiglio (lista in continuo aggiornamento): https://amzn.to/3Q3ZYI9 Lista dei film che consiglio (lista in continuo aggiornamento): https://amzn.to/3DoqTa7 Lista hardware che consiglio per chi è curioso del mondo per podcast (lista in continuo aggiornamento): https://amzn.to/44TYKTW Uso plugin audio da questa Software House: Waves. Se vuoi dare un'occhiata, anche questo è un link affiliato: https://www.waves.com/r/1196474 Ami musiche rilassanti e i suoni della natura? Iscriviti a questo meraviglioso canale  https://www.youtube.com/channel/UCbRZLgwT37437fYK4YYKhXQ?sub_confirmation=1 Learn more about your ad choices. Visit megaphone.fm/adchoices

In this minisode, drawing from Disney's Percy Jackson and the Olympians Season 2, we ask: Are you a good witch, or a bad witch, Circe? [Transcript for Episode 7] ----more---- More on Circe:  Circe at Mythopedia Circe at THEOI Madeline Miller, author of adult fantasy novel Circe, shares a photo essay "Searching for the Lost Location of the Isle of Circe, Enchantress of Odysseus"

Arco National Premiere, MOBILE SUIT GUNDAM HATHAWAY The Sorcery of Nymph Circe Premiere, The Super Mario Galaxy Movie Trailer and Update. Hosted on Acast. See acast.com/privacy for more information.

This Week on Earth Station DCU! Drew Leiter and Cletus Jacobs return to the Absolute Universe. A young Wally West struggles to understand his emerging speed powers while facing the elite Fort Fox group, surviving a catastrophic first encounter with Barry Allen, and fighting off the Rogues as he's pushed to his physical and emotional limits in Absolute Flash #1, 2, &3. Diana's defiance of the gods draws Hades' wrath, but as he interrogates her, she turns the tables with revelations that challenge his expectations and force a perilous escape whose cost she and Circe may not both be willing to pay in Absolute Wonder Woman #6 & 7. All this plus, DC News, Shout Outs, and much, much more! ------------------------ Table of Contents 0:00:00 Show Open 0:00:44 DC News 0:04:26 Absolute Flash #1, 2, 3 0:11:34 Absolute Wonder Woman #6 & 7 0:15:02 Show Close   Links Absolute Flash #1 Absolute Flash #2 Absolute Flash #3 Absolute Wonder Woman #6 Absolute Wonder Woman #7 The Flash, Vol. 1: Move Forward (Cletus's Read More Comics Pick) The Flash, Vol. 2: Rogues Revolution (Cletus's Read More Comics Pick) The Flash (1990) (Drew's Shout Out) Earth Station DCU Website The ESO Network Earth Station DCU/BatChums Patreon If you would like to leave feedback, comment on the show, or would like us to give you a shout out, please call the ESDCU feedback line at (317) 455-8411 or feel free to email us @ earthstationdcu@gmail.com

Man on the Run Trailer, MOBILE SUIT GUNDAM HATHAWAY The Sorcery of Nymph Circe Opening Theme, Monarch: Legacy of Monsters Season 2 Teaser, Dunk & Egg Update. Hosted on Acast. See acast.com/privacy for more information.

Bridget, Caitlin, and Hilda discuss "Tender Cruelty," book 9 in Katee Robert's Dark Olympus series. Longtime listeners know Hilda's feelings on this series, but what do Bridget and Caitlin think? Did this book live up to what they were hoping for? Well, listen now and find out.  Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

On this episode of Currently Reading, Mary and Roxanna take the reins and are deep diving into their top reads of 2025! Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  **Please help us by filling out the LISTENER SURVEY before JANUARY 25th!! 1:21 - Mary and Roxanna's Reading Year 4:14 - Mary's Reading Stats: 100 books read this year and picked up some graphic novels that normally she wouldn't have read in the past 7:54 - Roxanna's Reading Stats: 68 books read this year.  26 five star reads 15% general fiction, 16% historical fiction, 15% lit fic, 13% middle grade, 20% POC authors, 96% fiction 12:03 - Join the Currently Reading Patreon to access the reading tracker 14:25 - Mary and Roxanna's Best Books of 2025 14:38 - The Last Dragoners of Bowbazar by Indra Das (Roxanna #10) 17:09 - Empty Cradle, Broken Heart by Deborah L. Davis 18:16 - God of the Woods by Liz Moore (Mary #10) 19:23 - Sandwich by Catherine Newman 19:40 - The Gurkha and the Lord of Tuesday by Saad Z Hossain (Roxanna #9) 21:48 - Heart the Lover by Lily King (Mary #9) 22:36 - Writers & Lovers by Lily King 24:37 - The Hum and the Shiver by Alex Bledsoe (Roxanna #8) 27:16 - The Serviceberry by Robin Wall Kimmerer (Mary #8) 30:46 - To Be Taught, If Fortunate by Becky Chambers (Roxanna #7) 34:06 - The Millicent Quibb School of Etiquette for Ladies of Mad Science: Secrets of the Purple Pearl by Kate McKinnon (Mary #7) 35:35 - The Millicent Quibb School of Etiquette for Ladies of Mad Science by Kate McKinnon 37:39 - The Unseen World by Liz Moore (Roxanna #6) 40:04 - The Bright Years by Sarah Damoff (Mary #6) 42:27 - Fourth Wing by Rebecca Yarros 43:09 - The Undead Fox of Deadwood Forest by Aubrey Hartman (Roxanna #5) 45:00 - Under the Whispering Door by T.J. Klune 46:01 - The Bones Beneath by Skin by T.J. Klune (Mary #5) 46:35 - House in the Cerulean Sea by T.J. Klune 50:11 - Silverborn: The Mystery of Morrigan Crow by Jessica Townsend (Roxanna #4) 50:24 - Nevermoor by Jessica Townsend 54:14 - The Women of Wild Hill by Kirsten Miller (Mary #4) 54:33 - Lula Dean's Little Library of Banned Books by Kirsten Miller 54:41 - The Change by Kirsten Miller 56:59 - The Correspondent by Virginia Evans (Roxanna #3) 59:14 - Wild Reverence by Rebecca Ross (Mary #3) 59:36 - Divine Rivals by Rebecca Ross 1:00:05 - Circe by Madeline Miller 1:00:07 - Clytemnestra by Costanza Casati 1:01:02 - The Frozen River by Ariel Lawhon (Roxanna #2) 1:05:08 - The Correspondent by Virgina Evans (Mary #2) 1:08:17 - The Unselected Journals of Emma M. Lion by Beth Brower (Roxanna #1 - the whole series!) 1:10:30 - Anne of Green Gables by LM Montgomery 1:10:36 - 84, Charing Cross Road by Helene Hanff 1:14:41 - Lightfall: The Girl & the Galdurian by Tim Probert (Mary #1 - the whole series!) 1:15:31 - Lightfall: Shadow of the Bird by Tim Probert 1:15:31 - Lightfall: The Dark Times by Tim Probert 1:17:22 - The Guernsey Literary and Potato Peel Society by Mary Ann Shaffer Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. January's IPL is our annual visit to Fabled Bookshop in Waco, Texas. Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business.  All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

The Amateur Nerds, Chandra and Tyler, review episodes 5 and 6 of Percy Jackson and the Olympians season 2. They have lots of thoughts on Circe, the Sirens and Polyphemus. A production of the Amateur Nerds. Rate, review, subscribe, tell your friends! Follow us on Instagram @amateurnerds, Twitter @amateurnerds, and Tumblr @WildcatMinute Email us amateurnerdspresent@gmail.com

Vittorio Benetti https://www.instagram.com/vittoriobenettihp, High Priest in the Temple of Witchcraft https://templeofwitchcraft.org/vittorio-benetti-hp/ joins Luxa https://linktr.ee/LuxaStrata for a conversation about folk magic, including Vittorio's contribution to Serpents of Circe, AI and magic, his time in the Italian horror punk band, Rival Skulls, working with the Norse Goddess, Hel and more. Come for the punk rock and safety pins, stay for the enchanted beer and lip balm!Thanks for listening to the Lux Occult Podcast! Support the show by helping Luxa buy books and curtail other costs, as well as taking a bibliomancy break by giving on Patreon: https://www.patreon.com/luxoccult . Or, Buy Me a Coffee.com is an option for a one time donation: https://www.buymeacoffee.com/luxoccultpod?new=1 We would love to hear from you! Please send your thoughts, questions, suggestions or arcane revelations to luxoccultpod@gmail.com or message on Instagram @luxoccultpod https://www.instagram.com/luxoccultpod/ and on BlueSky https://bsky.app/profile/luxastrata919.bsky.socialGreen Mushroom Project https://greenmushroomproject.com/ Ask for a link to our Discord server!Merch! https://www.etsy.com/shop/IlluminIndustries?ref=shop_profile&listing_id=1880570110Instagram https://www.instagram.com/vittoriobenettihp Medium https://medium.com/@vittoriobenettihp Substack https://vittoriobenettihp.substack.com/Rival Skulls band https://soundcloud.com/rival-skullsReferenced in today's episode:Serpents of Circe: A Manual to Magical Resilience edited by Laura Tempest Zakroff and Ron Padrón https://revelore.press/product/serpents-of-circe-a-manual-to-magical-resilience/Lip balm protection magick https://www.dropbox.com/scl/fi/qpwl4je9dsj8oggriq55o/Lip-Balm-Protection-Magick_v2.pdf?rlkey=yey8tpd8a9jfkjr3ppxls69zj&st=4q1p6jt4&dl=0Rest, recharge, transform (beer recharge magick) https://www.dropbox.com/scl/fi/cm0btzmy1c0ndajplerbw/Rest_Recharge_Benetti.pdf?rlkey=29luz9ljbqtr0kxtx6pjwto6o&st=fva0295g&dl=0The Witch's Shield: Protection Magick and Psychic Self-Defense by Christopher Penczak https://www.goodreads.com/en/book/show/649077.The_Witch_s_ShieldWalking Through Loss and Mystery: How Grief and Magick Shaped My Path by Vittorio Benetti. Medium.com https://medium.com/@vittoriobenettihp/walking-through-loss-and-mystery-how-grief-and-magick-shaped-my-path-1e005721b6d2Void House Presents: Trauma Informed Practices or “Just the TIPs” https://youtu.be/gCrTpfsAAHcBehind the Curve doc about Flat Earth “theory” https://en.wikipedia.org/wiki/Behind_the_CurveLux Occult 100.5 Satanism and the Far Right w/ Spencer Sunshinehttps://youtu.be/FQOTlzmuZMALux Occult 94.5. Secrets of the Real Black Lodge Revealed w Allen Greenfield & Rendlesham's 44th https://youtu.be/lpKzAXtGdqEMusic:EYES OF YOUR EYES- Luxa Strata ft. Folds & Floods https://youtu.be/EfdQ-pJEBsgLux Occult is produced by Luxa Strata. All Rights Reserved 2026.

It's time for rest, relaxation and SIRENS?! We review of Percy Jackson and the Olympians season 2 episode 5: We Check In To C.C.'s Spa & Resort. On the menu: Fatal flawsCirce's secretClarisse & Grover on Polyphemus' Island Deadly Siren songs Percy & Annabeth growing closer and more!If you love Percy Jackson, hit subscribe so you catch all our episode breakdowns, cast interviews, and deep-dive discussions all season long.Season 2 Cast & Rick Riordan Interviews : https://youtu.be/WgYaflIsxeY?si=pQBHq71gahNc6-NA

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠ In this segment of Notorious Mass Effect, Analytic Dreamz dives deep into the highly anticipated official trailer for Christopher Nolan's The Odyssey. Join Analytic Dreamz as he reacts to the epic first look at Matt Damon starring as Odysseus in this mythic action adaptation of Homer's ancient Greek saga. The trailer showcases stunning IMAX-filmed visuals of Odysseus' perilous journey home after the Trojan War, featuring intense sequences inside the Trojan Horse, raging storms at sea, and teases of mythical encounters like the Cyclops. Analytic Dreamz breaks down the star-studded cast including Tom Holland as Telemachus, Anne Hathaway as Penelope, Robert Pattinson, Zendaya as Athena, Lupita Nyong'o, and Charlize Theron as Circe. Discover Analytic Dreamz's thoughts on Nolan's grounded yet grand approach, the practical effects, and why this 2026 blockbuster could redefine epic filmmaking. Tune in for in-depth analysis on The Odyssey trailer reaction with host Analytic Dreamz.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy