Podcasts about classicists

After a short hiatus the guys are back, dipping into their personal libraries to present some of the secondary literature that has been influential in shaping their thinking as Classicists. As Jeff and Dave get a little wonky, longtime listeners may not be all that surprised at some of the choices here—Jeff's picks traffic in mystery cults and mythic narratives, while Dave trots out works on Cicero, and political shifts in Roman history. Longtime listeners will also likely not be surprised that Jeff and Dave only get about halfway through their choices (so look for a part two!) Still, the guys manage to cover Walter Burkert's Ancient Mystery Cults, Manfred Fuhrmann's Cicero and the Roman Republic, Joseph Campbell's Hero with 1,000 Faces, Ronald Syme's The Roman Revolution, and Mary Lefkowitz' Black Athena: Revisited. Tune in for a lively discussion that includes not just the books themselves, but also defining secondary sources, and some of the odd ways in which studying the Classics can become politically charged.

We're joined by author and professor Anne McClannan to discuss her new book Griffinology.  These monsters are visually easily recognized - but how much do you know about their history?Links:Griffinology is available directly from University of Chicago Press.Coupon code UCPNEW is good through Dec 2024 for 30% off - which brings the price down to $28 off its regular cover price of $40! Griffins (wikipedia)Here is a link to some Griffins in ancient artwork. The artwork in Griffinology is a stunning and impressive selection of such examples.PopSci article on plausibility of Griffin/Fossil ConnectionAdditional:The Leucrotta (per Reddit)The same beast per D&DBecome a supporter of this podcast: https://www.spreaker.com/podcast/monstertalk--6267523/support.

We think we know what it was like to rule – and be ruled – in the Ancient Roman world. We think we know that Roman values and ideas formed the cornerstone of Western civilisation. We are wrong. In this special episode of the How To Academy podcast Cambridge's Mary Beard and Oxford's Josephine Quinn transport us back to the ancient world and reveal thrilling new histories of the Roman Empire and the origins of the West. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our second Andrew Talks to Chefs Special Conversation: In recent years, there's been an intermittent debate in the industry about whether or not team members should be credited on restaurant menus for their contribution to dish ideation. Classicists wave away the notion, while more progressive cooks and chefs often express an openness to the idea, if not an outright endorsement of it. Regardless of all the chatter, very few chef-restaurateurs have actually implemented a program to credit anyone other than the chef on their restaurant's menus. Last year, Amanda Cohen of New York City's Dirt Candy restaurant began doing it regularly, so we invited her and Andrew Duong, a Dirt Candy sous chef who's been cited on the menu for his dish development, on the pod to discuss their experience to date.Andrew Talks to Chefs is a fully independent podcast and no longer affiliated with our former host network; please visit and bookmark our official website for all show updates, blog posts, personal and virtual appearances, and related news.

Earlier this year, our friends the Classicists gathered to discuss traditional and classical architecture. As the day unfolded, Modernism was predictably and continually pounded as the cause of all kinds of awful consequences on humanity. In football the referee would blow the whistle at this point for piling on. Then one lone voice of reason stood up. Today we welcome Melissa Delvecchio of Robert A. M. Stern Associates, or RAMSA, and later musical guest Paul Marinaro.

Dr. Jeremy J. Swist, a lecturer in Classics at Brandeis University, joins Lexie to discuss why Classicists only tend to be on Twitter, turning his love of metal music into a career in classics, and whether the age of streaming will help produce more music, literature, and art that will leave a lasting cultural legacy. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Learn more about Dr. Swist: https://www.brandeis.edu/classics/faculty.html Follow Dr. Swist on Twitter: https://twitter.com/MetalClassicist Learn more about Project Visiting Scholar: https://pinardurgunpd.wixsite.com/pinardurgun/project-visiting-scholar Check out “The Mesopotamians”: https://www.youtube.com/watch?v=jAMRTGv82Zo Support us on Patreon: https://www.patreon.com/TheOzymandiasProject Custom music by Brent Arehart of Arehart Sounds.  Get exclusive bonus content (ad free episodes, early releases, and experimental content) on Patreon! Hosted on Acast. See acast.com/privacy for more information.

For generations, the Classical discipline's exclusive study of Greece and Rome went unquestioned, as did its position at the heart of the humanities. Greece and Rome's literature, art and intellectual legacy were seen not only as formative to modern culture, but as emblematic of universal value, and Classicists studied, by their own reckoning, the peak of human achievement. The emergent field of Classical Reception Studies has challenged many of these assumptions. Scholars who wish not simply to study the ancient past but rather to study the study of the ancient past have asked, why Greece and Rome? Why no other culture? And what does this act of choosing ultimately reveal? Yet even as these questions have been formulated, the response inside modern Classics has been lukewarm at best. In this podcast, Shivaike Shah is joined by Luke Richardson, formerly postgraduate teaching assistant at University College London, who researches the intellectual impact of the ongoing obsession with Greece and Rome. They discuss the seeming inability of modern Classics to come to terms with essential questions about itself and the languages of Western supremacy it represents.To find out more about this topic, check out the reading list on our website: https://www.khameleonproductions.org/khameleon-classics/classical-reception-a-failed-revolution

By now listeners have gotten used to (and maybe even enjoyed?) the loose, devil-may-care, locker room atmosphere that tends to dominate in the Vomitorium. But what about a ladies' perspective on all this folderol? And not just any old feminine perspective, but that of the extraordinary women who made the decision to marry these chuckleheads? That's right—this week the guys are joined by Tara and Bec (married, respectively, to Dave and Jeff) where they get a chance to unload on what it's like to live with the antiquity-obsesssed. Is there more to traveling than “climbing tall things and seeing dead guys”? Can one offer fashion advice without irreparrably bruising egos? And will the hosts need serious therapy after this one? Tune in!

Whenever our friends the Classicists want to troll Modernism, they claim it's Communist-inspired and therefore no good. Since we have never known any building to determine economic policy, joining us are two people who dive deep into this "concrete" issue in the former Eastern Bloc: Haruna Honcoop, director of the film Built to Last: Relics of Communist Era Architecture, and Marie Kordovska, granddaughter of of Věra and Vladimir Machonins, late-modern architects from Czechoslovakia. Later on, musical guest Hailey Tuck.

'What sort of a fiend are you that you dare change into my appearance, take my descendants captive, occupy my immortal cave, and assume such airs?' In the forty eighth episode of The Translated Chinese Fiction Podcast we are doing something a little different! In this episode half of a small army of Chinese lit podcasters join me to discuss their favourite stories from dynastic China. - // NEWS ITEMS // The TrChFic Mailing List Distant Sunflower Fields - OUT NOW Ma Jian on China's Efforts to Extinguish Memory - // PODCASTERS & THEIR CHOSEN STORIES // Mason of the Plum Forest Podcast chose 'The Thunder God', from Strange Tales from a Chinese Studio John of Chinese Lore chose Chapter 2 of The Outlaws of the Marsh, tr. Sidney Shapiro Yang of The Chinese Mythology Podcast chose 'Weaver Shi Meets a Friend at the Strand from Stories to Awaken the World (醒世恒言) by Feng Menglong, tr. Ted Wang and Chen Chen Tianqi of Stories from a Chinese Studio chose ‘Two Monkeys', from Journey to the West tr. Anthony C Yu - // MENTIONED IN THE EPISODE // Breakfast with Socrates the translator Herbert Giles the 1986 TV adaptation of Journey to the West and the 1978 Japanese adaptation 'Sworn brothers' and other kinds of kindship in China the dark 'Fake Wukong' theory the author Feng Menglong - // Handy TrChFic Links // Episode Transcripts Help Support TrChFic The TrChFic Map INSTAGRAM // TWITTER // DISCORD // HOMEPAGE

This episode, Abi and Sarah bring you our interview for Season Two with the wonderful Hardeep Dhindsa (*trumpet fanfare*). In our fascinating chat with Hardeep, we cover issues like the discipline divides in the UK, whiteness and Classics, and why most Classicists are “afraid of post-modernism”. (Honestly, anything this side of the eruption of Vesuvius is all a bit much for us). And we do this, all within an episode that brings you art (just can’t help ourselves), Troy and Troy: Fall of a City, studying in Rome, The Carter’s Apeshit, and Hardeep just generally ticking all of our mythological boxes (we’re looking at you Polyphemus and Sarpedon). The title of this episode was lovingly ripped straight from Hardeep’s own MA thesis (with his kind permission) because we can’t resist a pun.

This week Patrick and a panel of Classicists, Historians and Biographers discuss the life and creative legacy of Roman poet Horace. Joining Patrick on the panel are: Professor Emily Gowers, Professor of Latin Literature, St John's College, Cambridge, Professor Stephen Harrison, Professor of Latin Literature, University of Oxford, Professor Martin Brady, Head of the School of Classics, UCD, Professor Carole E. Newlands, Department of Classics, Colorado University and Dr Luke Houghton, Department of Greek & Latin, University College London.        

Like the Dos Equis commercials, we don’t always feature Classicists, but when we do, we go for the best.  Today we welcome one of America’s foremost classical architecture advocates, the Dr. Downtown of Providence Rhode Island, journalist David Brussat. Such a cool nickname. David runs the blog Architecture Here and There and wrote for 30 years for the Providence Journal. He has received the Oscar of Classicism, the Arthur Ross Award from the Institute for Classical Architecture. That’s a big deal. Prince Charles won that award. David is a tireless advocate for the return of classical design to public architecture and apparently loves taking Mrs. Downtown to something called Waterfire, which we’ll find out about.  Later on, a return visit from musical guests Peter Lamb and the Wolves.

Podcast bij Lucas 14:1-14 Tekstlezing door Jan Kroon Eigen muziek op gitaar gebaseerd op 'Trouble with Classicists' van Lou Reed & John Cale

Thanks for coming back to see us here at Amazing Spider-Man Classics.  The three Classicists are all by themselves this time out for a couple of lackluster issues that bring us closer to Steve Ditko's departure from the title.  In Amazing Spider-Man 35, The Molten Man Regrets the shameful things that happened between him and the webhead before, but that doesn't stop him from coming back for more.  Then a right-out loony manages to get... Continue reading

Thanks for coming back to see us here at Amazing Spider-Man Classics.  The three Classicists […] The post ASM Classics Episode 24: Amazing Spider-Man 35 and 36 appeared first on Spidey-dude.com.

Some time ago, I was asked by listener Sarah Rumsey to do a podcast on composition theory. That’s a doozy of a topic, so I read a lot, I poked around, even pulled together a couple drafts, but couldn’t find the balance of breadth and depth to do this subject justice. So I gave up.   Ah, clever listener, you know I didn’t really give up, because this is Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history and I am Mary Hedengren and instead of trying to capture the entire depth of rhetorical theory thought I could just rip off someone who did.   Granted, the “did” in this case happened way back in 1982, when rhetoric and composition was still a young discipline, but the “someone” is James A Berlin, namesake of the Conference on College Composition and Communication Jim Berlin pub crawl. In addition to, I guess, being a man who could hold his liquor, Berlin was a composition historian and in 1982, he took stock of the current field of composition in an article titled “Contemporary Composition: the Major Pedagogical Theories.”   Now before I dive into this major theoretical typology, let me say that the article has been accused of being a little simplistic and a little...strawman-ish. Berlin himself acknowledges his bias in the article, stating, “My reasons for presenting this analysis are not altogether disinterested. I am convinced that the pedagogical approach of the New Rhetoricians is the most intelligent and most practical alternative available, serving in every way the best interests of our students” (766). Well, in that case, why even worry about other theories? And why should Sarah be taught all of these competing pedagogical theories in her composition classes? Why not just settle down with one intelligent and practical one without holding up competing theories? Won’t that just confuse would-be instructors and, worse, muddle students who must adapt from one instructor’s theory to another as they progress through their classes: freshman comp with a classicist and advanced writing with an expressionist?   Well, for starters, you might not agree with Berlin’s conclusions about which is best. And, even is so, Berlin fears that most people don’t think consciously about their overall theory of writing and learning at all “ many teachers,” he says, “(and I suspect most) look upon their vocations as the imparting of a largely mechanical skill, important only because it serves students in getting them through school and in advancing them in their professions. This essay will argue that writing teachers are perforce given a responsibility that far exceeds this merely instrumental task” (766).   Okay then, what are the theories Berlin posits for how “writer, reality, audience and language--are envisioned”(765)?   First are the Neo-Aristotelians or Classicists. You might suspect, they echo the philosophies of Aristotle, but Berlin claims that actually they are “opposed to his system in every sense” (767). Okay, then, what does Aristotle posit and what do these wannabes do? Aristotle, if you remember from that famous fresco by Rafael, is the one pointing down to the earth. Berlin describes Aristotle’s view that reality can be “known and communicated with language serving as the unproblematic medium os discourse. There is an uncomplicated correspondence between the sign and the thing” (767). Aristotle’s rhetorical writings are among the most complete we have from the ancient world and emphasize reasoning, but also acknowledge that sometimes it takes a little appeal to emotion, too, to get the job done.   Then Berlin says, in essence, okay, but what those so-called Neo-Aristotelians actually do is Current-traditional or Positivist. [For those keeping track at home, this means that there are two terms (Neo-Aristotleian or Classicist) to describe the general theory and then two (Current traditional and positivist) to describe the way that people botch it up and sometimes still call themselves NeoAristotlean.] So in what ways have Current traditionalists been mucking up Aristotle’s ideas on rhetoric?  Well, for starters they abandon deductive reasoning altogether and embrace exclusively induction, emphasizing only experiment and then they also “destroy” a distinction between dialective and rhetoric, “rhetoric becomes the study of all forms of communication: scientific, philosophical, historical, political, eval and even [gasp] poetic” (769). Additionally, “truth is to be discovered outside the rhetorical enterprise--through the method, usually the scientific method of the appropriate discipline, or as in poetry and oratory, through genious” (770). Instructors in this theory move beyond persuasive to “discourse that appeals to the understanding--exposition, narration, description and argumentation” and is “concerned solely with the communication of truth that is certain and empirically verifieable--in other words, not probablistic” (770).   The second band Berlin identifies are the neo-Platonists or expressivist. Let’s think back on that fresco by Rafael--Aristotle pointed to the ground and Plato pointed to the sky. If neo Aristotleans see themselves as focused on the empirical, the neo Platonists  head in the opposite direction “truth is not based on sensory experience since the material world is always in flux and thus unreliable. Truth is instead discovered through an internal apprehension, a private world that transcends” (771). Because of this, for our writing instructors, “truth can be learned by not taught” (771). The expressionists then “emphasizes writing as a ‘personal’ activity as an expression one’s unique voice” (772). Berlin objects that, like that neo-Aristotleans, these Expressionists have strayed far from Plato’s precepts--”Their conception of truth,” he says “can in no way be seen as comparable to Plato’s transcend world of ideas.” Non of them,” he objects “is a relativist...all believe in the existence of verifiable truths and find them, as does Plato, in private experience” (772). Further, although expressivists may encourage freewriting and journaling, they also emphasise workshopping and peer review, practices that, accord to Berlin will “get rid of what is untrue to the private vision of the writer” (773). This peer practice to purify private truths is not about communication to others, to expunge insincerities. There is a very Dead Poets Society vibe to the whole thing.   So, to summarize where we end up, the Current-traditionalists who think they are Aristotlean are dropping “personal and social concerns in the interests of the unobstructed perception of empirical reality” while the expressivist Neo-Platonists are finding reality only within and using an audience only as a “check to the false note of the inauthentic” and some lingering true NeoAristotleans or classicalists are emphasizing rational structures and only occasionally acknowledging things like “emotion”  (775).   Then there is New Rhetoric. You can almost feel Berlin heave a sigh of relief at finding something sensible. “In New Rhetoric the message arises out of the interactions of the writer, language, reality and the audience. Truths are operative only within a given universe of discourse, and this universe is shaped by all of these elements, including the audience” (775). In other words, if Rafeal were painting the school of Athens now, Aristotle might point towards the objective earth and Plato towards the transcendent heavens, but New Rhetoric (personified, let us say, by Berlin himself) would be pointing outwards towards you--towards the viewer and also towards the painter. The writer creates truth, doesn’t just discover it in the world or within herself, but actually creates it.   And what does that mean for composition? Everything, says Berlin. “In teaching writing we are not simply offering training in a useful technical skill that is meant as a simple complement to more important studies in other areas. We are teaching a way of experiences the world, a way of ordering and making sense of it” (776).   And that’s why learning theory is important. When you’re teaching students to write, are you teaching them to just “write down their observation” about the outside world as though it were uncomplicated? Are you asking them to just “write whatever comes into your mind” about a topic as sincerely and unrestrained as possible? Or are you asking them to create meaning with their audience and, in the same sense with language?   I confess that reading this article in 2019, I’m less twitterpated with the idea that people can make up whatever truths they want. Although no one would ever describe themselves as a Current Traditionalist, some of these ideas--writing in the disciplines, using mixed research methods, even including belleliteristic writing seem very comfortable to me. Things have changed since 1983, not least of which is composition theory.   And I guess this means that this ccan’t be my only podcast on theory. Ah, rats.  

The first issue of Classical World's 111th volume takes a wide-ranging look at the 50th anniversary of the so-called "Harvard School" of Vergilian interpretation. Guest editor Julia Hejduk of Baylor University joins us to talk about the importance of the 22 essays by eminent scholars to Classicists and the academic community at large.

The DMigos (or ‘Classicists’) are back in black, and are joined by Mike Badolato of the North Texas RPG Con to…

Thanks for coming back to see us here at Amazing Spider-Man Classics.  The three Classicists are all by themselves this time out for a couple of lackluster issues that bring us closer to Steve Ditko’s departure from the title.  In Amazing Spider-Man 35, The Molten Man Regrets the shameful things that happened between him and […]

Thanks for coming back to see us here at Amazing Spider-Man Classics.  The three Classicists are all by themselves this time out for a couple of lackluster issues that bring us closer to Steve Ditko's departure from the title.  In Amazing Spider-Man 35, The Molten Man Regrets the shameful things that happened between him and … Continue reading "024 ASM Classics – Amazing Spider-Man 35 and 36"

Transcript -- How viewers of Buffy the Vampire Slayer relate to the storyline as a modern reworking of Ovid's Pygmalion myth.

How viewers of Buffy the Vampire Slayer relate to the storyline as a modern reworking of Ovid's Pygmalion myth.

Transcript -- How viewers of Buffy the Vampire Slayer relate to the storyline as a modern reworking of Ovid's Pygmalion myth.

How viewers of Buffy the Vampire Slayer relate to the storyline as a modern reworking of Ovid's Pygmalion myth.