Podcasts about dantean

The parade goes on, now that the pilgrim, Dante, is in a good spot to see it.After the twenty-four lords in white come four animals with green fronds as crowns. They are like the Cherubim in both the prophecies of Ezekiel and in the Apocalypse of St. John (or the book of Revelation).Except not really. Or sort of. Well, the poet doesn't have time to explain. Go read the text yourself. And especially the one that doesn't quite agree with what I saw.Join me, Mark Scarbrough, as we find Dante's irony alive and well, even during the grand parade of divine revelation.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto XXIX, Lines 88 - 105. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[02:56] The naturalistic, lush landscape à la Guido Cavalcanti's pastoral poem.[04:49] The constellations, Argus, and the peacock.[06:35] The four "animals" from Ezekiel and the Apocalypse of St. John (or the New Testament book of Revelation).[09:19] Allegorical interpretations of the four animals.[11:19] "Unmoored" allegories in COMEDY: here and with the three beasts in INFERNO, Canto I.[14:02] Dante, the Biblical text, and questions of its inerrancy.[16:25] The direct address tot he reader, perhaps a wild bit of Dantean irony even here in the divine parade.[21:34] Rereading the passage: PURGATORIO, Canto XXIX, lines 88 - 105.

John Granger Attempts to Convince Nick (and You!) That The Hallmarked Man will be Considered the Best of the Series.We review our take-away impressions from our initial reading of The Hallmarked Man. Although we enjoyed it, especially John's incredible prediction of Robin's ectopic pregnancy, neither of us came away thinking this was the finest book in the series. For Nick, this was a surprise, as enthusiastic J. K. Rowling fan that he is other than Career of Evil every book he has read has been his favourite. Using an innovative analysis of the character pairs surrounding both Cormoran and Robin, John argues that we can't really appreciate the artistry of book number eight until we consider its place in the series. Join John and Nick as they review the mysteries that remain to be resolved and how The Hallmarked Man sets readers up for shocking reveals in Strike 9 and 10!Why Troubled Blood is the Best Strike Novel:* The Pillar Post Collection of Troubled Blood Posts at HogwartsProfessor by John Granger, Elizabeth Baird-Hardy, Louise Freeman, Beatrice Groves, and Nick JefferyTroubled Blood and Faerie Queene: The Kanreki ConversationBut What If We Judge Strike Novels by a Different Standard than Shed Artifice? What About Setting Up the ‘Biggest Twist' in Detective Fiction History?* If Rowling is to be judged by the ‘shock' of the reveals in Strike 10, then The Hallmarked Man, the most disappointing book in the series even to many Serious Strikers, will almost certainly be remembered as the book that set up the finale with the greatest technical misdirection while playing fair.* The ending must be a shock, one that readers do not see coming, BUT* The author must provide the necessary clues and pointers repeatedly and emphatically lest the reader feel cheated at the point of revelation.* If the Big Mysteries of the series are to be solved with the necessary shock per both Russian Formalist and Perennialist understanding, then the answers to be revealed in the final two Strike novels, Books Two and Three of the finale trilogy, should be embedded in The Hallmarked Man.* Rowling on Playing Fair with Readers:The writer says that she wanted to extend the shelf of detective fiction without breaking it. “Part of the appeal and fascination of the genre is that it has clear rules. I'm intrigued by those rules and I like playing with them. Your detective should always lay out the information fairly for the reader, but he will always be ahead of the game. In terms of creating a character, I think Cormoran Strike conforms to certain universal rules but he is very much of this time.* On the Virtue of ‘Penetration' in Austen, Dickens, and Rowling* Rowling on the Big Twist' in Austen's Emma:“I have never set up a surprise ending in a Harry Potter book without knowing I can never, and will never, do it anywhere near as well as Austen did in Emma.”What are the Key Mysteries of the Strike series?Nancarrow FamilyWhy did Leda and Ted leave home in Cornwall as they did?Why did Ted and Joan not “save” Strike and Lucy?Was Leda murdered or did she commit suicide?If she was murdered, who dunit?If she commited suicide, why did she do it?What happened to Switch Whittaker?Cormoran StrikeIs Jonny Rokeby his biological father?What SIB case was he investigating when he was blown up?Was he the father of Charlotte's lost baby? If not, then who was?Why has he been so unstable in his relations with women post Charlotte Campbell?Charlotte CampbellWhy did her mother hate her so much?What was her relationship with her three step-fathers? Especially Dino LongcasterWho was the father of her lost child?Was the child intentionally aborted or was it a miscarriage?What was written in her “suicide note”?Was Charlotte murdered or did she commit suicide?If she was murdered, who done it?If she committed suicide, why did she do it?What happened to the billionaire lover?What clues do we get in Hallmarked Man that would answer these questions?- Strike 8 - Greatest Hits of Strikes 1-7: compilation, concentration of perumbration in series as whole* Decima/Lion - incest* Rupert's biological father not his father of record (Dino)* Sacha Legard a liar with secrets* Ryan Murphy working a plan off-stage - Charlotte's long gameStrike about ‘Pairings' in Lethal WhiteStrike continued to pore over the list of names as though he might suddenly see something emerging out of his dense, spiky handwriting, the way unfocused eyes may spot the 3D image hidden in a series of brightly colored dots. All that occurred to him, however, was the fact that there was an unusual number of pairs connected to Chiswell's death: couples—Geraint and Della, Jimmy and Flick; pairs of full siblings—Izzy and Fizzy, Jimmy and Billy; the duo of blackmailing collaborators—Jimmy and Geraint; and the subsets of each blackmailer and his deputy—Flick and Aamir. There was even the quasi-parental pairing of Della and Aamir. This left two people who formed a pair in being isolated within the otherwise close-knit family: the widowed Kinvara and Raphael, the unsatisfactory, outsider son.Strike tapped his pen unconsciously against the notebook, thinking. Pairs. The whole business had begun with a pair of crimes: Chiswell's blackmail and Billy's allegation of infanticide. He had been trying to find the connection between them from the start, unable to believe that they could be entirely separate cases, even if on the face of it their only link was in the blood tie between the Knight brothers.Part Two, Chapter 52Key Relationship Pairings in Cormoran Strike:Who Killed Leda Strike?To Rowling-Galbraith's credit, credible arguments in dedicated posts have been made that every person in the list below was the one who murdered Leda Strike. Who do you think did it?* Jonny Rokeby and the Harringay Crime Syndicate (Heroin Dark Lord 2.0),* Ted Nancarrow (Uncle Ted Did It),* Dave Polworth,* Leda Strike (!),* Lucy Fantoni (Lucy and Joan Did It and here),* Sir Randolph Whittaker,* Nick Herbert,* Peter Gillespie, and* Charlotte Campbell-RossScripted Ten Questions:1. So, Nick, back when we first read Hallmarked Man we said that there were four things we knew for sure would be said about Strike 8 in the future. Do you remember what they were?2. And, John, you've been thinking about the ‘Set-Up' idea and how future Rowling Readers will think of Hallmarked Man, even that they will think of it as the best Strike novel. I thought that was Troubled Blood by consensus. What's made you change your mind?3. So, Nick, yes, Troubled Blood I suspect will be ranked as the best of series, even best book written by Rowling ever, but, if looked at as the book that served the most critical place in setting up the finale, I think Hallmarked Man has to be considered better in that crucial way than Strike 5, better than any Strike novel. Can you think of another Strike mystery that reviews specific plot points and raises new aspects of characters and relationships the way Strike 8 does?4. Are you giving Hallmarked Man a specific function with respect to the last three books than any of the others? If so, John, what is that exactly and what evidence do we have that in Rowling's comments about reader-writer obligations and writer ambitions?5. Nick, I think Hallmarked Man sets us up to answer the Key mysteries that remain, that the first seven books left for the final three to answer. I'm going to organize those unresolved questions into three groups and challenge you to think of the ones I'm missing, especially if I'm missing a category.6. If I understand the intention of your listing these remaining questions, John, your saying that the restatement of specific plot points and characters from the first seven Strike novels in Hallmarked Man points to the possible, even probable answers to those questions. What specifically are the hallmarks in this respect of Hallmarked Man?7. If you take those four points, Nick, and revisit the mysteries lists in three categories, do you see how Rowling hits a fairness point with respect to clueing readers into what will no doubt be shocking answers to them if they're not looking for the set-ups?8. That's fun, Nick, but there's another way at reaching the same conclusions, namely, charting the key relationships of Strike and Ellacott to the key family, friends, and foes in their lives and how they run in pairs or parallel couplets (cue PPoint slides).9. Can we review incest and violence against or trafficking of young women in the Strike series? Are those the underpinning of the majority of the mysteries that remain in the books?10. Many Serious Strikers and Gonzo Galbraithians hated Striuke 8 because Hallmarked Man failed to meet expectations. In conclusion, do you think, Nick, that this argument that the most recent Strike-Ellacott adventure is the best because of how it sets us up for the wild finish to come will be persuasive -- or just annoying?On Imagination as Transpersonal Faculty and Non-Liturgical Sacred ArtThe Neo-Iconoclasm of Film (and Other Screened Adaptations): Justin requested within his question for an expansion of my allusion to story adaptations into screened media as a “neo-iconoclasm.” I can do that here briefly in two parts. First, by urging you to read my review of the first Hunger Games movie adaptation, ‘Gamesmakers Hijack Story: Capitol Wins Again,' in which I discussed at post's end how ‘Watching Movies is a a Near Sure Means to Being Hijacked by Movie Makers.' In that, I explain via an excerpt from Jerry Mander's Four Arguments for the Elimination of Television, the soul corrosive effects of screened images.Second, here is a brief introduction to the substance of the book I am working on.Rowling is a woman of profound contradictions. On the one hand, like all of us she is the walking incarnation of her Freudian family romance per Paglia, the ideas and blindspots of the age in which we live, with the peculiar individual prejudices and preferences and politics of her upbringing, education, and life experiences, especially the experiences we can call crises and consequent core beliefs, aversions, and desires. Rowling acknowledges all this, and, due to her CBT exercises and one assumes further talking therapy, she is more conscious of the elephant she is riding and pretending to steer than most of her readers.She points to this both in asides she make in her tweets and public comments but also in her descriptive metaphor of how she writes. The ‘Lake' of that metaphor, the alocal place within her from her story ideas and inspiration spring, is her “muse,” the word for superconscious rather than subconscious ideas that she used in her 2007 de la Cruz interview. She consciously recognizes that, despite her deliberate reflection on her PTSD, daddy drama, and idiosyncratic likes and dislikes, she still has unresolved issues that her non-conscious mind presents to her as story conflict for imaginative resolution.Her Lake is her persona well, the depths of her individual identity and a mask she wears.The Shed, in contrast, is the metaphorical place where Rowling takes the “stuff” given her by the creature in her Lake, the blobs of molten glass inspiration, to work it into proper story. The tools in this Shed are unusual, to say the least, and are the great markers of what makes Rowling unique among contemporary writers and a departure from, close to a contradiction of the artist you would expect to be born of her life experiences, formative crises, and education.Out of a cauldron potion made from listening to the Smiths, Siouxie and the Banshees, and The Clash, reading and loving Val McDermid, Roddy Doyle, and Jessica Mitford, and surviving a lower middle class upbringing with an emotionally barren homelife and Comprehensive education on the England-Wales border, you'd expect a Voldemort figure at Goblet of Fire's climax to rise rather than a writer who weaves archetypally rich myths of the soul's journey to perfection in the spirit with alchemical coloring and sequences, ornate chiastic structures, and a bevy of symbols visible only to the eye of the Heart.To understand Rowling, as she all but says in her Lake and Shed metaphor, one has to know her life story and experiences to “get” from where her inspiration bubbles up and, as important, you need a strong grasp of the traditionalist worldview and place of literature in it to appreciate the power of the tools she uses, especially how she uses them in combination.The biggest part of that is understanding the Perennialist definition of “Sacred Art.” I touched on this in a post about Rowling's beloved Christmas story, ‘Dante, Sacred Art, and The Christmas Pig.'Rowling has been publicly modest about the aims of her work, allowing that it would be nice to think that readers will be more empathetic after reading her imaginative fiction. Dante was anything but modest or secretive in sharing his self-understanding in the letter he wrote to Cangrande about The Divine Comedy: “The purpose of the whole work is to remove those living in this life from the state of wretchedness and to lead them to the state of blessedness.” His aim, point blank, was to create a work of sacred art, a category of writing and experience that largely exists outside our understanding as profane postmoderns, but, given Rowling's esoteric artistry and clear debts to Dante, deserves serious consideration as what she is writing as well.Sacred art, in brief, is representational work — painting, statuary, liturgical vessels and instruments, and the folk art of theocentric cultures in which even cutlery and furniture are means to reflection and transcendence of the world — that employ revealed forms and symbols to bring the noetic faculty or heart into contact with the supra-sensible realities each depicts. It is not synonymous with religious art; most of the art today that has a religious subject is naturalist and sentimental rather than noetic and iconographic, which is to say, contemporary artists imitate the creation of God as perceived by human senses rather than the operation of God in creation or, worse, create abstractions of their own internally or infernally generated ideas.Story as sacred art, in black to white contrast, is edifying literature and drama in which the soul's journey to spiritual perfection is portrayed for the reader or the audience's participation within for transformation from wretchedness to blessedness, as Dante said. As with the plastic arts, these stories employ traditional symbols of the revealed traditions in conformity with their understanding of cosmology, soteriology, and spiritual anthropology. The myths and folklore of the world's various traditions, ancient Greek drama, the epic poetry of Greece, Rome, and Medieval Europe, the parables of Christ, the plays of Shakespeare's later period, and the English high fantasy tradition from Coleridge to the Inklings speak this same symbolic language and relay the psychomachia experience of the human victory over death.Dante is a sacred artist of this type. As difficult as it may be to understand Rowling as a writer akin to Dante, Shakespeare, Homer, Virgil, Aeschylus, Spenser, Lewis, and Tolkien, her deployment of traditional symbolism and the success she enjoys almost uniquely in engaging and edifying readers of all ages, beliefs, and circumstances suggests this is the best way of understanding her work. Christmas Pig is the most obviously sacred art piece that Rowling has created to date. It is the marriage of Dantean depths and the Estecean lightness of Lewis Carroll's Alice books, about which more later.[For an introduction to reading poems, plays, and stories as sacred art, that is, allegorical depictions of the soul's journey to spiritual perfection that are rich in traditional symbolism, Ray Livingston's The Traditional Theory of Literature is the only book length text in print. Kenneth Oldmeadow's ‘Symbolism and Sacred Art' in his Traditionalism: Religion in the light of the Perennial Philosophy(102-113), ‘Traditional Art' in The Essential Seyyed Hossein Nasr(203-214), and ‘The Christian and Oriental, or True Philosophy of Art' in The Essential Ananda K. Coomaraswamy(123-152) explain in depth the distinctions between sacred and religious, natural, and humanist art. Martin Lings' The Sacred Art of Shakespeare: To Take Upon Us the Mystery of Things and Jennifer Doane Upton's two books on The Divine Comedy, Dark Way to Paradise and The Ordeal of Mercy are the best examples I know of reading specific works of literature as sacred art rather than as ‘stories with symbolic meaning' read through a profane and analytic lens.]‘Profane Art' from this view is “art for art's sake,” an expression of individual genius and subjective meaning that is more or less powerful. The Perennialist concern with art is less about gauging an artist's success in expressing his or her perception or its audience's response than with its conformity to traditional rules and its utility, both in the sense of practical everyday use and in being a means by which to be more human. Insofar as a work of art is good with respect to this conformity and edifying utility, it is “sacred art;” so much as it fails, it is “profane.” The best of modern art, even that with religious subject matter or superficially beautiful and in that respect edifying, is from this view necessarily profane.Sacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation'” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God's creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas' “manner of operation” rather than God's operation manifested in created things in order to produce ‘creations'which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized' aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).The traditional artist, then, in imitation of God's “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God's “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”The original iconoclasts or “icon bashers” were believers who treasured sacred art but did not believe it could use images of what is divine without necessarily being blasphemous; after the incarnation of God as Man, this was no longer true, but traditional Christian iconography is anything but naturalistic. It could not be without becoming subjective and profane rather than being a means to spiritual growth and encounters. Western religious art from the Renaissance and Reformation forward, however, embraces profane imitation of the sense perceived world, which is to say naturalistic and as such the antithesis of sacred art. Film making, on religious and non-religious subjects, is the apogee of this profane art which is a denial of any and all of the parameters of Sacred art per Aquinas, traditional civilizations, and the Perennialists.It is a neo-iconoclasm and a much more pervasive and successful destruction of the traditional world-view, so much so that to even point out the profanity inherent to film making is to insure dismissal as some kind of “fundamentalist,” “Puritan,” or “religious fanatic.”Screened images, then, are a type of iconoclasm, albeit the inverse and much more subtle kind than the relatively traditional and theocentric denial of sacred images (the iconoclasm still prevalent in certain Reform Church cults, Judaism, and Islam). This neo-iconoclasm of moving pictures depicts everything in realistic, life-like images, everything, that is, except the sacred which cannot be depicted as we see and experience things. This exclusion of the sacred turns upside down the anti-naturalistic depictions of sacred persons and events in iconography and sacred art. The effect of this flood of natural pictures akin to what we see with our eyes is to compel the flooded mind to accept time and space created nature as the ‘most real,' even ‘the only real.' The sacred, by never being depicted in conformity with accepted supernatural forms, is effectively denied.Few of us spend much time in live drama theaters today. Everyone watches screened images on cineplex screens, home computers, and smart phones. And we are all, consequently, iconoclasts and de facto agnostics, I'm afraid, to greater and lesser degrees because of this immersion and repetitive learning from the predominant art of our secular culture and its implicit atheism.Contrast that with the imaginative experience of a novel that is not pornographic or primarily a vehicle of perversion and violence. We are obliged to generate images of the story in the transpersonal faculty within each of us called the imagination, one I think that is very much akin to conscience or the biblical ‘heart.' This is in essence an edifying exercise, unlike viewing photographic images on screens. That the novel appears at the dawn of the Modern Age and the beginning of the end of Western corporate spirituality, I think is no accident but a providential advent. Moving pictures, the de facto regime artistry of the materialist civilization in which we live, are the counter-blow to the novel's spiritual oxygen.That's the best I can manage tonight to offer something to Justin in response to more about the “neo-iconoclasm” of film This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Our pilgrim has lain down on a step of the final staircase of Mount Purgatory, positioned between Statius below and Virgil above him.As he watches the large and bright stars, he suddenly falls asleep to dream of Leah (and her sister Rachel) in an Edenic garden, the hope for self-reflection bound up in the promise of the contemplative life.This dream may well begin to sum up Dante's notion of how a human finds the divine.Join me, Mark Scarbrough, as we walk through the final dream of PURGATORIO.Consider donating to keep this work afloat by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:29] My English translation of PURGATORIO, Canto XXVII, lines 91 - 108. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:05] The players around and in the dream: Cytherea, Leah, and Rachel.[10:40] Three interpretations of the dream. One, a pre-fall Even and a post-redemption Eve in the Garden of Eden.[12:50] Two, a Biblical dream after two classical dreams, but all deeply sexual in nature.[17:26] Three, two modes for revelation: the active life and the contemplative life.[19:03] Dantean psychology: finding the divine in the beloved leads to finding the divine in the self.[23:22] Rereading the passage: PURGATORIO, Canto XXVII, lines 91 - 108.

UTO - Infiné Music ‘When all you want to do is be the fire part of fire'… say it to yourself and then say it again. Repeat it like a mantra. It's what UTO did. Anyone familiar with the UTO's lauded 2022 debut ‘Touch The Lock‘, which Pitchfork praised for its “prismatic synth pop”, will be aware of the variegated nature of what they do. This album is just as colourful, with Neysa's vocalwork sparking similarities to Kim Gordon's off-kilter vocals, which they both ceremoniously jets through a post-electronica blender mixing stylized indie sleaze productions with 90s breakbeats. While they might appear as a singular entity to others, UTO wrote large sections of this album apart, converging by the fireside to discuss the day's work before coming together to hone and finish the songs. 2023 was, by their own admission, a difficult year, and that's reflected in the Dantean themes expressed in songs such as the lead single ‘Zombie', which arrived at the end of November as a taster for the new record; the latter's dark heart is belied by the skittering beats, glitchy electronics and pummeling sequencers that elevate it from the void. UTO are agents of chaos who've always lived on the periphery of reality, inhabiting an uncanny hinterland of the imagination where dream states coalesce with perceived real life. It probably shouldn't surprise us then that they have embraced AI where others fear to tread, by following the sonic algorithms to see where they might lead creatively, and by presenting themselves on the cover of ‘When all you want to do is be the fire part of fire' as two generated simulations: “This image is not of our faces, but it looks like us,” says Neysa. “It's more us than us.” More fire than fire, one could add. From fire, early man's discovery, to AI, humanity's next great adventure – with all of the wonders and complexities of human relationships in between – ‘When all you want to do is be the fire part of fire' really is about life, the universe and everything. Just remember, be the flame, not the moth. album : https://idol-io.ffm.to/firepartoffire https://infine-music.com/uto https://www.instagram.com/uto_itself TrackID : DM or pls go check via this links below, our podcast official page www.radiocampus.fr/emission/campus-club-mixtapes ------------------------------------------------------ CAMPUS CLUB, l'émission Au plus près des cultures électro qui marquent la création musicale d'aujourd'hui et à l'international, le réseau Radio Campus France donne carte blanche aux artistes et labels défricheurs des nouveaux talents. En écoute régulière sur plus de 30 radios et en podcast, retrouvez chaque semaine CAMPUS CLUB, un mix exclusif d'un.e DJ ou producteur.ice. de la scène française ou étrangère. Toutes les mixtapes : www.radiocampus.fr/emission/campus-club-mixtapes ------------------------------------------------------ RADIO CAMPUS FRANCE Radio Campus France est le réseau des radios associatives, libres, étudiantes et locales fédérant 30 radios partout en France. NOUS SUIVRE | FOLLOW US www.radiocampus.fr NOUS ÉCOUTER | LISTEN Site, webradios et podcasts www.radiocampus.frHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

UTO - Infiné Music ‘When all you want to do is be the fire part of fire'… say it to yourself and then say it again. Repeat it like a mantra. It's what UTO did. Anyone familiar with the UTO's lauded 2022 debut ‘Touch The Lock‘, which Pitchfork praised for its “prismatic synth pop”, will be aware of the variegated nature of what they do. This album is just as colourful, with Neysa's vocalwork sparking similarities to Kim Gordon's off-kilter vocals, which they both ceremoniously jets through a post-electronica blender mixing stylized indie sleaze productions with 90s breakbeats. While they might appear as a singular entity to others, UTO wrote large sections of this album apart, converging by the fireside to discuss the day's work before coming together to hone and finish the songs. 2023 was, by their own admission, a difficult year, and that's reflected in the Dantean themes expressed in songs such as the lead single ‘Zombie', which arrived at the end of November as a taster for the new record; the latter's dark heart is belied by the skittering beats, glitchy electronics and pummeling sequencers that elevate it from the void. UTO are agents of chaos who've always lived on the periphery of reality, inhabiting an uncanny hinterland of the imagination where dream states coalesce with perceived real life. It probably shouldn't surprise us then that they have embraced AI where others fear to tread, by following the sonic algorithms to see where they might lead creatively, and by presenting themselves on the cover of ‘When all you want to do is be the fire part of fire' as two generated simulations: “This image is not of our faces, but it looks like us,” says Neysa. “It's more us than us.” More fire than fire, one could add. From fire, early man's discovery, to AI, humanity's next great adventure – with all of the wonders and complexities of human relationships in between – ‘When all you want to do is be the fire part of fire' really is about life, the universe and everything. Just remember, be the flame, not the moth. album : https://idol-io.ffm.to/firepartoffire https://infine-music.com/uto https://www.instagram.com/uto_itself TrackID : DM or pls go check via this links below, our podcast official page www.radiocampus.fr/emission/campus-club-mixtapes ------------------------------------------------------ CAMPUS CLUB, l'émission Au plus près des cultures électro qui marquent la création musicale d'aujourd'hui et à l'international, le réseau Radio Campus France donne carte blanche aux artistes et labels défricheurs des nouveaux talents. En écoute régulière sur plus de 30 radios et en podcast, retrouvez chaque semaine CAMPUS CLUB, un mix exclusif d'un.e DJ ou producteur.ice. de la scène française ou étrangère. Toutes les mixtapes : www.radiocampus.fr/emission/campus-club-mixtapes ------------------------------------------------------ RADIO CAMPUS FRANCE Radio Campus France est le réseau des radios associatives, libres, étudiantes et locales fédérant 30 radios partout en France. NOUS SUIVRE | FOLLOW US www.radiocampus.fr NOUS ÉCOUTER | LISTEN Site, webradios et podcasts www.radiocampus.fr

Dante has started a conversation with two envious penitents . . . a conversation he might not be ready for. They prove more than his rhetorical match. They also muddy the theology of Purgatory itself. Is that intentional? Or are we expected to understand their still-fallen state?Join me, Mark Scarbrough, as we explore more about the two envious souls who interrupt Dante's journey around the second terrace of Purgatory proper.Please consider helping this podcast stay sponsor-free. You can help me with its many fees by donating at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:23] My English translation of the passage: PURGATORIO, Canto XIV, lines 22 - 42. If you'd like to read along or continue the conversation, please find the entry for this episode of the podcast on my website, markscarbrough.com.[03:23] Dante's cagey periphrasis about the Arno may not have paid off.[07:00] The first envious penitent is bestialized as he fastens his teeth into the meat of Dante's intentions.[09:49] These penitent shades have lots of debt, even though one soul launches into a typical Dantean diatribe against Tuscany.[14:43] How can good things happen in a fallen world? Only by moving the fence.[16:55] Two inset tercets show the changing nature (or fence?) of COMEDY from a theological poem to an encyclopedic one.[21:59] This passage contains the third and final use in COMEDY of a word for "snake."[25:55] The problem with the diatribe is that is seems to remove culpability from humans . . . or at least, Tuscans.[28:55] Rereading the passage: PURGATORIO, Canto XIV, lines 22 - 42.

Dante and Virgil begin their exit from the terrace of pride on Mount Purgtory. To do so, they must encounter and angel who implicitly calls back Lucifer (or Satan) into the text yet who welcomes them on their way up the less-steep ascent.Join me, Mark Scarbrough, as we watch Virgil reassert this role as the guide and see another of the epic angels in Purgatory.If you'd like to help out, please consider donating to keep this podcast afloat. You can do at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[02:22] My English translation of the passage: PURGATORIO, Canto XII, lines 73 - 99. If you'd like to read along or continue the conversation with me, please go to my website, markscarbrough.com.[04:47] Virgil returns to being Virgil: a guide to the afterlife who quote himself.[08:08] Virgil and the angel both seem to set the plot in motion again.[11:19] Virgil seems more interested in what's ahead and less interested in the reliefs and carvings. In fact, he seems to mistake the lesson from those carvings: Some days, like Trajan's, happen again and again in an eternal art form.[14:08] The strength of COMEDY is that the complex always resolves into the simple.[16:17] Irony: Virgil's "simple" ethic contains a Dantean neologism.[17:20] The beautiful angel contains an implicit and perhaps redemptive reference to Lucifer (or Satan).[21:11] Who speaks the condemnation against humanity? The angel or Dante the poet?[25:54] Rereading the passage: PURGATORIO, Canto XII, lines 73 - 99.

In this episode Sarah chats with her life coach, Dave Kehnast, Author of Undercover Angel. From his book: “In Undercover Angel, Dave takes readers on a vulnerable, raw, gut-wrenching journey into the heart and mind of a sensitive, often love-sick teenager in his explorations of marijuana, LSD, alcohol, and ultimately opiates and heroin. This harrowing memoir brings us among junkies and thieves, prostitutes and police, heartbreak and love, and to Japan and back. As Dave navigates the Dantean realms all addicts face, he ultimately encounters both his inner child and inner warrior—and the unlimited possibilities that emerge from the power of hope and surrender. This rare look at the experience of addiction from the inside out shines a light on the connection between childhood wounds and addiction, and the unpredictable nature of recovery. All those seeking to understand the root causes of addiction, whether in themselves, those they love, or in larger society, will come face to face with their own woundedness, the ways we try to ease our own pain, and ultimately empathy and hope for those who find themselves on this path.” Connect + Coaching with Dave Kehnast: https://www.facebook.com/dkehnast Read Dave's book, Undercover Angel: https://undercoverangelbook.com Listen to Dave's podcast, Undercover Angel: https://podcasts.apple.com/us/podcast/undercover-angel-podcast/id1707079337 To learn more about Sarah's perspective: innertruthhealing.us https://innertruthhealing.substack.com Magic Mind Productivity Shot: www.magicmind.com/thealing Use code: THEALING20 for 50% off your first subscription or 20% off your one time purchase. Mindful Kawa, affordable on-demand Virtual Wellness Retreats: https://www.mindfulkawa.com/bundles/mindful-kawa-membership?ref=b13734 Intuitive Guidance Reading with Sarah - Audio Recording: https://calendly.com/sarahghekierend/intuitive-guidance-reading Virtual Healing Session with Sarah - 1.5hr 1:1 healing session: https://calendly.com/sarahghekierend/intuitiveguidance 40 Days to change program: https://www.innertruthhealing.us/40-days-to-change Purchase Sarah's Journal, “What do I want to experience?”: https://www.amazon.com/What-want-experience-observing-questioning/dp/B0C91NT94B/ref=sr_1_1?crid=1D8IV82PKPIJP&keywords=what+do+I+want+to+experience&qid=1702159528&sprefix=what+do+i+want+to+experience%2Caps%2C122&sr=8-1 Learn more about being a guest on the podcast's upcoming series “Tales from the Healing Journey”: https://2023decaculinks.s3.us-east-2.amazonaws.com/Tales+from+the+Healing+Journey-2.pdf

It's 1991 and Jeffrey Dahmer's depravity has descended to a new low. Tired of his victims dying so quickly, he attempts to create human zombies. Dr. Michelle Ward investigates as Dahmer's apartment transforms into a Dantean epicenter of pain, deviance, and torture, as victim after victim find themselves in Dahmer's clutches. In this episode, we meet Rita Isbell, whose brother Errol's life was cut short by Jeffrey Dahmer when he met him near a bookstore. We also follow as once again the police have Dahmer within their grasp when another young boy escapes from his apartment. Hosted by criminal psychologist Michelle Ward, the Mind of a Monster true crime podcast brings you exclusive access and insight into some of history's most notorious serial killers—with chilling audio straight from the monsters themselves. Season 4 of Mind of a Monster examines Jeffrey Dahmer, who from 1978 to 1991 murdered seventeen men and boys, attempted to kill at least two others, and attacked, drugged, and abused countless more. He cannibalized some of his victims, dismembered their bodies and preyed on the vulnerable to become one of the most depraved serial killers in American history. Across six episodes, criminal psychologist Dr. Michelle Ward consults with detectives, journalists, survivors, and witnesses to dive deep into the case of Jeffrey Dahmer. Investigating his crimes, Dr. Ward tracks his trajectory as a killer and exposes the many opportunities that were lost to prevent his reign of terror. Mind of a Monster is an Investigation Discovery podcast. Hosted on Acast. See acast.com/privacy for more information.

Why We Make Music, Part 3: Peter and Susannah speak with Esther Maria Magnis about her recent Plough release With or Without Me, a memoir of her father's death from cancer and her own loss and gain of Christian faith. How can a shattered faith be rebuilt after tragedy? Then, they have a wide-ranging conversation with Sperello di Serego Alighieri, Dante's descendant, about his book on his ancestor's cosmology, The Sun and the Other Stars of Dante Alighieri: A Cosmographic Journey through the Divina Commedia. They also discuss the various dramas of Dr. Alighieri's Dantean year, the 700th anniversary of his ancestor's death, including a playful relitigation of his ancestor's banishment trial. Then, they go full galaxy brain: How did Dante's ideas look forward to contemporary post-Einsteinian concepts about the shape of the universe? Read the transcript. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're starting to walk along the first of the evil pouches with our pilgrim and his guide, Virgil. Down below, naked people are being whipped by horned demons. This is the hell we expected! Except maybe not. Join me, Mark Scarbrough, as I explain some of the historical and cultural references in a passage that may have a garbled bit at its very core. Is that garbling intentional? We'll have to wait for later in the canto to decide. Here are the segments of this episode on Inferno, Canto XVIII, lines 22 - 39 of the podcast WALKING WITH DANTE: [00:51] My English translation of Inferno, Canto XVIII, lines 22 - 39. If you want to read along, you can find this translation on my website, markscarbrough.com. [02:18] A fine example of Dantean technique: seeding the passage with hints of things to bloom later on. Plus, historical resonances in this jammed pouch of the eighth circle of hell, as well as a possible garbling of the passage in terms of which direction who's walking at any given moment. [07:46] The demons appear! And they don't disappoint! They're also a complex parody of Paradise itself. [12:34] The historical analogy in the middle of the passage. It's about the Jubilee Year of plenary indulgences that Pope Boniface VIII called in 1300. But what's it doing here, in our first blush with fraud? Support this podcast

In his new book, Warmth: Coming of Age at the End of Our World, Daniel Sherrell reflects on his career as a climate activist and tries to process the emotional fallout, for himself and his generation - Millennials -, of growing up in the age of climate change. Written as a letter to his imagined future child, the book is a kind of Dantean descent into the pit of emotions - from frustration, grief, rage and despair to hope - that all of us who are engaged with what is happening to our planet must grapple with. This episode inaugurates our new season on climate change and seems like a good point of departure: coming to terms with how we feel about what Dan Sherrell, referencing philosopher Timothy Morton, calls a hyperobject: a problem too big, spatially and temporally, for us to really wrap our heads around.in-the-weeds.netTo lobby Congress to include meaningful climate legislation in the Build-Back-Better bill, I encourage you to check out the Sunrise Movement - sunrisemovement.org

Pier seemed to have come to a conclusion in his last speech with Virgil and our pilgrim, Dante. But he's clearly not done. Prompted by Dante, Virgil asks the shade how it got to be a bush and (more tellingly) whether it can escape. This is a passage rife with problems: Virgil's dualism, at odds with a Christian understanding of the resurrection; Dante-the-pilgrim's on-going silence in the face of his own sorrows; Pier's rhetorical flourishes which become less and less pronounced the closer he gets to speaking about the Last Judgment, the end of time. If anything, Pier's second speech in Canto XIII of Inferno brings up more questions than it answers. This is complicated literary territory. Join me, Mark Scarbrough, as I take it step by step, exploring one of the most dazzling cantos of Inferno. Here are the segments for this episode: [01:14] My English translation of the passage from Canto XIII of Inferno: lines 79 - 108. If you'd like to see this translation "in the flesh" (hello, Pier!), it lives on my website, markscarbrough.com. [03:26] The passage starts with someone's hesitation. Whose? Virgil's? Pier's? It's more complicated than you might think. [05:06] The first words of our pilgrim, Dante, since way back in Canto XI. And he doesn't say much--except to reiterate the problem of belief and trust in a literary context. Why has our pilgrim been silent? I have several answers, including the notion that we might be in a thematic progression since Canto X with Farinata. [09:31] Virgil's response to the pilgrim--and a literary tie-back to Canto X. [12:07] Virgil seems caught in a potential heresy. The old classical poet appears to be a dualist, thinking the mind and body are separate things. [14:46] Pier's second speech--and the answer to what happens to the suicides in the resurrection. [20:57] The story of the metamorphosis itself: an infernal take on one of Jesus's parables and a tribute to Ovid, all in one short passage. [24:48] Pier's final moments: a strange fusion of Dantean heresy (theological suicide? literary suicide?) and Pier's final honesty after so much rhetorical fandango. [27:54] A final shot: there may be a reference to Judas Iscariot running throughout all of Pier's speeches. Support this podcast

We’ve taken you on a Dantean journey in this series, revisiting the damage done to the Republic by the presidency of Donald Trump. Other the last five episodes, we’ve chronicled how norms were shattered; loopholes exploited; and the constitution’s ambiguities laid bare. But Jack Goldsmith and Bob Bauer, whose book “After Trump” gives the series its name, have not just catalogued damage. They’ve laid down practical plans for reconstructing the presidency. So the question now is, Can it be done? In this final episode of After Trump, we look at the prospects for the future. We examine opportunities to fix the problems exposed by Donald Trump’s tenure as President. Learn more about your ad choices. Visit megaphone.fm/adchoices

We've taken you on a Dantean journey in this series, revisiting the damage done to the Republic by the presidency of Donald Trump. Other the last five episodes, we've chronicled how norms were shattered; loopholes exploited; and the constitution's ambiguities laid bare. But Jack Goldsmith and Bob Bauer, whose book “After Trump” gives the series its name, have not just catalogued damage. They've laid down practical plans for reconstructing the presidency.So the question now is, Can it be done?In this final episode of After Trump, we look at the prospects for the future. We examine opportunities to fix the problems exposed by Donald Trump's tenure as President. See acast.com/privacy for privacy and opt-out information.

Evening Plays (Theatre Communications Group, 2020) collects three plays by experimental playwright Richard Maxwell. The plays are inspired by Dante's Divine Comedy, and all three concern death and dying. The Evening focuses on characters whose lives revolve around cage-fighting and drinking, and also includes searing meditations on the process of dying. Samara reads a bit like a western, though one filtered through a mystic sensibility reminiscent of Jorge Luis Borges. Paradiso is, like its Dantean precursor, a fractured, future-oriented work that exists on the border of the human. Videos of The Evening and Paradiso can be found here and here. Several of his paintings are currently on view between Dunkin’ Donuts and Frames Bowling Alley on the second floor of the south building at Port Authority Bus Terminal. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Evening Plays (Theatre Communications Group, 2020) collects three plays by experimental playwright Richard Maxwell. The plays are inspired by Dante's Divine Comedy, and all three concern death and dying. The Evening focuses on characters whose lives revolve around cage-fighting and drinking, and also includes searing meditations on the process of dying. Samara reads a bit like a western, though one filtered through a mystic sensibility reminiscent of Jorge Luis Borges. Paradiso is, like its Dantean precursor, a fractured, future-oriented work that exists on the border of the human. Videos of many of Maxwell's plays, including the three discussed in this interview, can be found on Vimeo at https://vimeo.com/nycplayers. Several of his paintings are currently on view between Dunkin’ Donuts and Frames Bowling Alley on the second floor of the south building at Port Authority Bus Terminal. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Evening Plays (Theatre Communications Group, 2020) collects three plays by experimental playwright Richard Maxwell. The plays are inspired by Dante's Divine Comedy, and all three concern death and dying. The Evening focuses on characters whose lives revolve around cage-fighting and drinking, and also includes searing meditations on the process of dying. Samara reads a bit like a western, though one filtered through a mystic sensibility reminiscent of Jorge Luis Borges. Paradiso is, like its Dantean precursor, a fractured, future-oriented work that exists on the border of the human. Videos of many of Maxwell's plays, including the three discussed in this interview, can be found on Vimeo at https://vimeo.com/nycplayers. Several of his paintings are currently on view between Dunkin’ Donuts and Frames Bowling Alley on the second floor of the south building at Port Authority Bus Terminal. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Evening Plays (Theatre Communications Group, 2020) collects three plays by experimental playwright Richard Maxwell. The plays are inspired by Dante's Divine Comedy, and all three concern death and dying. The Evening focuses on characters whose lives revolve around cage-fighting and drinking, and also includes searing meditations on the process of dying. Samara reads a bit like a western, though one filtered through a mystic sensibility reminiscent of Jorge Luis Borges. Paradiso is, like its Dantean precursor, a fractured, future-oriented work that exists on the border of the human. Videos of many of Maxwell's plays, including the three discussed in this interview, can be found on Vimeo at https://vimeo.com/nycplayers. Several of his paintings are currently on view between Dunkin’ Donuts and Frames Bowling Alley on the second floor of the south building at Port Authority Bus Terminal. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

JOE DANTE month comes to a close (or does it?) with Gremlins 2, arguably the most Dantean of the Dante movies. We're joined by Hayden Bytheway, film student and friend of the show. Here's his short film! https://www.youtube.com/watch?v=hmqn35IZd40&feature=youtu.be You can find us on Soundcloud, iTunes, Tunein, or on Cramp TV stations franchised all around the globe.

It's a well-known trope that bartenders have half a novel under their belts, but the gentle art of cocktail-making can slake the creative propensities of many a germinating artist. Fyodor Kuzmichev certainly thinks so, and has seen fit to craft a delicately wrought description of his ventures into the endeavour, and subsequent Dantean exploration of the cocktail underworld. Music: "Band Documentary (The Introduction)" by Captive Portal is licensed under CC BY-SA 4.0 "Band Hiatus (The Reflection)" by Captive Portal is licensed under CC BY-SA 4.0 "Reunion Rumours (feat. The Completely Sober Band)" by Captive Portal is licensed under CC BY-SA 4.0 "Mermaid Butterfly" by Soft and Furious is licensed under CC0 1.0 "Fly" by Andre Jetson is licensed under CC BY 4.0

It's a well-known trope that bartenders have half a novel under their belts, but the gentle art of cocktail-making can slake the creative propensities of many a germinating artist. Fyodor Kuzmichev certainly thinks so, and has seen fit to craft a delicately wrought description of his ventures into the endeavour, and subsequent Dantean exploration of the cocktail underworld. Music: "Band Documentary (The Introduction)" by Captive Portal is licensed under CC BY-SA 4.0 "Band Hiatus (The Reflection)" by Captive Portal is licensed under CC BY-SA 4.0 "Reunion Rumours (feat. The Completely Sober Band)" by Captive Portal is licensed under CC BY-SA 4.0 "Mermaid Butterfly" by Soft and Furious is licensed under CC0 1.0 "Fly" by Andre Jetson is licensed under CC BY 4.0

In this episode, we start off with a special Mystery Sound Tiebreaker and introduce our guest for the episode, Dantean! Who emerges victorious? We also discuss the rivalry between Bethesda's Elder Scrolls and Fallout games. Then, we blast off into space to reminisce over games that take place in space. Originally posted: 2/6/17-----Topics discussed:* Mystery Sound: Tiebreaker Edition. Special thanks to Dantean!* Currently Playing: Super Mario Sunshine, Overwatch, FTL, Enter the Gungeon* Bethesda Games: Oblivion, Skyrim, Fallout 3, Fallout 4* Space Games: Galaga, Mass Effect, Kerbal Space Program, Planetary Annihilation* Other Topics: Wii U Production, Nintendo Switch, Apple Computers-----Special thanks to our guest, Dantean, for joining us on this episode!Get in touch with us! Send us your questions or comments:@TuneIntoGamingtuneintogaming@gmail.com

A fascinating look at karma, reincarnation and the traditional Buddhist vision of hell. The visceral, Dantean descriptions are paired with George's own unique secular Buddhist analysis. This continues the close reading of Manual of Insight Chapter Two, and also covers Burmese vs. Western practices, and practical approaches to noting.

As the legendary Italian poet Dante turns 750, what can he tell us about the human experience? Dante scholar John Took takes us through his timeless angst and joy ridden ponderings on love, despair and existence. | Read along while listening at our Medium: bit.ly/1YjwJyK | Narrated by John Took | Music by Advent Chamber Orchestra, Kai Engel, Tales, Spin Day, Ars Sonor & XXIXI, and Kevin MacLeod | John is Professor of Dante Studies at UCL. His research focuses on the ​Divine Comedy, Dante's minor works as well as his philosophy of existence and theology. Also a Dantean editor and biographer, John published a critical edition of the ​Fiore (a work attributed to Dante) and is currently completing an intellectual biography of Dante for Princeton University Press.