Podcasts about Frontispiece

In this episode, the Frontispiece Four have a close encounter of the 3.14159th kind while remotely protecting the Frontispiece itself from an intruder... Adam is still experimenting with some new editing/production approaches this time, so please let us know what you think of those in this one. As the poet once said... "It's So Weird" by the Bush Tetras. "Augment or Die" is by Emerson Boatwright and Drew Messinger-Micheals. Cover art by Joanne, aka Anything Sews. Visit us on the web at dicepunks.com and on BlueSky & Tumblr at @dicepunks, or email us as dicepunks@gmail.com! Our Patreon is www.patreon.com/DicePunks — backers can gain access to our patron-only Discord, Dice Peeks after-show, and more!

Production Notes: Des was sick during this recording, and so did not attempt his normal Byrne-voice, but listeners are invited to imagine it in place of his basso profundo for this episode. Adam is also experimenting with some new editing/production approaches this time, so please let us know what you think of those in this one. (Adam apologizes if more of his verbal tics slipped through this process than usual!) For a few days, the Frontispiece Four do their day-jobs, look into a variety of matters, and learn more about themselves, each other, and Grand Cross's society. While visitors to the Frontispiece arrive and prepare to arrive, one thing becomes clear: "the baby" can't stay there indefinitely... As the poet once said... "The Bad Touch" by Bloodhound Gang. "Augment or Die" is by Emerson Boatwright and Drew Messinger-Micheals. Cover art by Joanne, aka Anything Sews. Visit us on the web at dicepunks.com and on BlueSky & Tumblr at @dicepunks, or email us as dicepunks@gmail.com! Our Patreon is www.patreon.com/DicePunks — backers can gain access to our patron-only Discord, Dice Peeks after-show, and more!

In this episode, Adam struggles to fit in time to edit well, and ends up getting it posted almost an hour late, with no guarantees that he didn't miss anything! Oh, and also, the Frontispiece get a feline temp-worker, conduct a stake-out, and unleash a mumble-teen into a workplace... As the poet once said... "The Stenographer" by Relient K. "Augment or Die" is by Emerson Boatwright and Drew Messinger-Micheals. Cover art by Joanne, aka Anything Sews. Visit us on the web at dicepunks.com and on Cohost & Tumblr at @dicepunks, or email us as dicepunks@gmail.com! Our Patreon is www.patreon.com/DicePunks — backers can gain access to our patron-only Discord, Dice Peeks after-show, and more!

Preparations, mechanical and narrative, are made for the VRuTech mission: Cal dines in various places with various people, Cato learns their way around a firearm, Byrne begrudgingly tolerates a guest at the Frontispiece, and Ing meets a character the gang reacts strongly to... As the poet once said... "Amity" by The Gathering. "Augment or Die" is by Emerson Boatwright and Drew Messinger-Micheals. Cover art by Joanne, aka Anything Sews. Visit us on the web at dicepunks.com and on Cohost & Tumblr at @dicepunks, or email us as dicepunks@gmail.com! Our Patreon is www.patreon.com/DicePunks — backers can gain access to our patron-only Discord, Dice Peeks after-show, and more!

In our continuing adventures on Grand Cross: the GPol People around the Frontispiece figure out their next steps, and who they can count on as allies... As the poet once said... "Rainbow in the Dark" by Dio. "Augment or Die" is by Emerson Boatwright and Drew Messinger-Micheals. Cover art by Joanne, aka Anything Sews. Visit us on the web at dicepunks.com and on Cohost & Tumblr at @dicepunks, or email us as dicepunks@gmail.com! Our Patreon is www.patreon.com/DicePunks — backers can gain access to our patron-only Discord, Dice Peeks after-show, and more!

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He's known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude. He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire). While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude's death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819. Earlom used etching to mimic Claude's ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner's painted compositions, which he called Liber Studiorum. They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West. Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.   Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York. Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York. Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York. Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York. Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York. Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52.  White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome. Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant'Ignazio, Rome. Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York. Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence. Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid. Callot's Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens' Consequences of War and Velasquez's Surrender at Breda). Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel's Architecture françoise, volume 4, book 6. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York. Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków. Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich. Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln. Tru's diagrams of Poussin's Et in Arcadia Ego. Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library. Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London. One of many Claude Lorrain paintings with its corresponding diagram. Several diagrams showing compositional plans according to the Golden Ratio. Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence. Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris. Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London. Claude Lorrain (French, c. 1600–1682). Index of owners of Claude's paintings in the Liber Veritatis. British Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York. James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York. Claude Glass. Science Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.  Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York. Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.  

In s3e31 of Platemark, host Ann Shafer speaks with Lothar Osterburg, artist, professor and leading expert on the fine art of photogravure. These are basically photographs transferred to copper plates and printed as etchings. (It's, of course, more complicated than that.) In this way, it is possible to get images to print with continuous tone, as opposed to half-tone, or stepped biting.  The results are luminous photographs printed with printer's ink. It's a result that cannot be achieved in any other way. Of course, one can manipulate the plate after etching the photographic image into it, adding drypoint, engraving, and even further etching. These hybridizations are intriguing, rare, and special. There are very few practitioners who are truly experts in it.  Lothar helps us understand the process, and we take a look at both his work as a master printer at Crown Point Press in the 1990s, and his own work in which he builds sculptures (often in miniature) and photographs them to create eerie scenes that recall the antique and conjure fantasy. Episode image: Elizabeth Brown Christian Boltanski (French, 1944–2021). Untitled, from the portfolio Gymnasium Chases, 1991. Portfolio of 24 photogravures. Plate: 461 x 319 mm. (18 1/8 x 12 9/16 in.); sheet: 592 x 419 mm. (23 5/16 x 16 ½ in.). National Gallery of Art, Washington, D.C. John Baldessari (American, 1931–2020). Hand and Chin (with Entwined Hands), 1991. Photogravure with color spit bite aquatint. Plate: 24 x 14 in.; sheet: 33 x 22 in. Published by Crown Point Press. Markus Raetz (German, 1941–2020). Reflexion, 1991. Set of three photogravures with aquatint. Plate (each): 19 x 26 in.; sheet (each) 36 x 42 in. Published by Crown Point Press. Francis Bacon's studio at 7 Reece Mews, London, 1998. Photo: Perry Ogden. © Estate of Francis Bacon. Lothar Osterburg (American, born Germany, 1961). Lunch Box Studio, 2022. Lunch Box, lens, paper, paint, LED lights. 10 ½ x 5 x 8 in. Lothar Osterburg (American, born Germany, 1961). Gloomy Artist's Studio, 2022. Photogravure with surface roll. 11 x 11 in. Lothar Osterburg (American, born Germany, 1961). The Tower of Babel, 2017. Wood, cardstock, and book pages. 7 x 7 x 28 feet. 2017. Installation at the Esther Massry Gallery, Albany, New York. Ole Worm (Danish, 1588–1654). Frontispiece from Museum Wormianum seu Historia Rerum Rariorum. Amsterdam: 1655. Special Collections, University of Reading. Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2022. Wood, lens, Japanese, silk, buttons, metal, paper, and LED lights. 11 x 13 x 9 in. Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2023. Photogravure with surface roll. 11 x 11 in. Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 × 6 15/16 in. (15.3 × 17.6 cm.). Metropolitan Museum of Art, New York. Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2022. Wood, paper, glass, LED lights. Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2023. Photogravure. 16 x 21 in. Lothar Osterburg (American, born Germany, 1961). A Shakerbox Full of Chairs, 2022. Shaker box with lens, paper, LED lights. 11 x 8 x 5 in. Lothar Osterburg (American, born Germany, 1961). A Room Full of Chairs, 2023. Photogravure with surface roll. 10 x 14 in. Leo Zhao (American, born 1999). Printmaker's Aquarium, 2023. Various techniques. Sheet: 30 x 44 in. Key to techniques used.

"abolitionism European and American social movement abolitionism, also called abolition movement, (c. 1783–1888), in western Europe and the Americas, the movement chiefly responsible for creating the emotional climate necessary for ending the transatlantic slave trade and chattel slavery. The intens" "--START AD- #TheMummichogblogOfMalta Amazon Top and Flash Deals(Affiliate Link - You will support our translations if you purchase through the following link) - https://amzn.to/3CqsdJH Compare all the top travel sites in just one search to find the best hotel deals at HotelsCombined - awarded world's best hotel price comparison site. (Affiliate Link - You will support our translations if you purchase through the following link) - https://www.hotelscombined.com/?a_aid=20558 “So whatever you wish that others would do to you, do also to them, for this is the Law and the Prophets."""" #Jesus #Catholic. Smooth Radio Malta is Malta's number one digital radio station, playing Your Relaxing Favourites - Smooth provides a ‘clutter free' mix, appealing to a core 35-59 audience offering soft adult contemporary classics. We operate a playlist of popular tracks which is updated on a regular basis. https://smooth.com.mt/listen/ Follow on Telegram: https://t.me/themummichogblogdotcom END AD---" "ification of slavery as a system, which followed Portuguese trafficking of enslaved Africans beginning in the 15th century, was driven by the European colonies in North America, South America, and the West Indies, where the plantation economy generated an immense demand for low-cost labour. Between the 16th and 19th centuries an estimated total of 12 million enslaved Africans were forcibly transported to the Americas. The brutality of slavery, made increasingly visible by the scale of its practice, sparked a reaction that insisted on its abolition altogether. Origin of the abolition movement The abolition movement began with criticism by rationalist thinkers of the Enlightenment of slavery's violation of the “rights of man.” Quaker and other, evangelical religious groups condemned it for its un-Christian qualities. By the late 18th century moral disapproval of slavery was widespread, and antislavery reformers won a number of deceptively easy victories during this period. In Britain, Granville Sharp secured a legal decision in 1772 that West Indian planters could not hold slaves in Britain, because slavery was contrary to English law. In the United States, all the states north of Maryland abolished slavery between 1777 and 1804. But antislavery sentiments had little effect on the centres of slavery themselves: the massive plantations of the Deep South, the West Indies, and South America. Turning their attention to these areas, British and American abolitionists began working in the late 18th century to prohibit the importation of enslaved Africans into the British colonies and the United States. Under the leadership of William Wilberforce and Thomas Clarkson, these forces succeeded in getting the slave trade to the British colonies abolished in 1807. The United States prohibited the importation of slaves that same year, though widespread smuggling continued until about 1862. Antislavery forces then concentrated on winning the emancipation of those populations already in slavery. They were triumphant when slavery was abolished in the British West Indies by 1838 and in French possessions 10 years later. Frontispiece and title page of Phillis Wheatley's book of poetry, ""Poems on Various Subjects, Religious and Moral"" 1773. Phillis Wheatley (c. 1753-1784). African American slave. Black woman poet. BRITANNICA QUIZ Slavery and Resistance Through History Quiz How many U.S. presidents owned slaves during their lifetimes? In 1839 who led the mutiny of 53 enslaved people on the Spanish slave ship Amistad? Test your knowledge. Take the quiz. Southern defense of the “peculiar institution” The Confessions of Nat Turner The Confessions of Nat Turner Se

A History of Lesbian Sex in Pornography The Lesbian Historic Motif Podcast - Episode 225 with Heather Rose Jones With apologies for the sound quality problems in the originally-posted version of this episode. Note: This episode has an accompanying slide show, which can be accessed through the YouTube version of the podcast. (See transcript link.) Please note that the video includes explicit sexual imagery. In this episode we talk about: A brief history of pornography/erotica as a social and legal category The varied and changing place of sex between women in pornography The rise of pornography as a socio-political force across the 18th and 19th centuries The intertwined history of pornography and sensational medical literature How pornography of the “decadent” era both objectified lesbian sex and opened doors to lesbian self-representation Images—all images are sincerely believed to be in the public domain, based on the evidence cited in Wikimedia, which is linked when available.1. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 2. From I Modi (The modes), sonnet by Pietro Aretino art by Marcantonio Raimondi, mid-16th c 3. Marcantonio Raimondi Woman with a dildo mid-16th c 4. Johann Heinrich Tischbein Diana & Callisto 18th c 5. Pompeii - fresco in a bathhouse 6. Illustration of “sodomites” from a Bible Moralisée Vienna MS 2554 7. Jean Mignon Women bathing ca. 1535-1555 8. Nicholas Chorier L'Academie des Dames 1660 9. L'Ecole des filles (The School for Venus) 19th c. illustration 10. Jean Barrin Venus dans le Cloitre, ou La Religieuse en Chemise (Venus in the Convent) 1683 11. Delarivere Manley The New Atalantis 1714 12. Denis Diderot La Religieuse (The Nun) 1797 edition 13. Thérèse Philosophe (Therese the Philosopher) 1748 14. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 15. Illustration from Giacomo Casanova A History of My Life by Jules-Adolphe Chauvet, late 19th c illustration for 18th c text 16. Marquis de Sade Juliette 1797 17. Illustration from Le paysan ét la paysane pervertis; ou Les dangérs de la ville (The Perverted Peasant-man and Peasant-woman; or the Dangers of the Town by Restif de La Bretonne 1787 18. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 19. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 20. Jean-Auguste-Dominique Ingres The Turkish Bath 1862 21. Les Deux Amies (The Two Girlfriends) by Jean-Jacques Lagrenée 22. Lesbian Games – anonymous lithograph ca. 1840 23. Illustration by Aubrey Beardsley for Théophile Gautier's Mademoiselle de Maupin, 1835 24. Nicolas Francois Octave Tassaert Le Femme Damnée (inspired by the poetry of Baudelaire) 1859 25. Cover for Adolphe Belot Mademoiselle Giraud ma Femme (Mlle. Giraud my Wife) 1870 26. George Barbier 1922 illustration for Pierre Louÿs The Songs of Bilitis 1894 27. Frontispiece for Catulle Mendès Lila and Colette 1885 28. Gustave Courbet Le Sommeil (the sleepers) 1866 This topic is discussed in one or more entries of the Lesbian Historic Motif Project here: Sex between women A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Twitter: @heatherosejones Facebook: Heather Rose Jones (author page)

A History of Lesbian Sex in Pornography The Lesbian Historic Motif Podcast - Episode 225 with Heather Rose Jones Note: This episode has an accompanying slide show, which can be accessed through the YouTube version of the podcast. (See transcript link.) Please note that the video includes explicit sexual imagery. In this episode we talk about: A brief history of pornography/erotica as a social and legal category The varied and changing place of sex between women in pornography The rise of pornography as a socio-political force across the 18th and 19th centuries The intertwined history of pornography and sensational medical literature How pornography of the “decadent” era both objectified lesbian sex and opened doors to lesbian self-representation Images—all images are sincerely believed to be in the public domain, based on the evidence cited in Wikimedia, which is linked when available.1. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 2. From I Modi (The modes), sonnet by Pietro Aretino art by Marcantonio Raimondi, mid-16th c 3. Marcantonio Raimondi Woman with a dildo mid-16th c 4. Johann Heinrich Tischbein Diana & Callisto 18th c 5. Pompeii - fresco in a bathhouse 6. Illustration of “sodomites” from a Bible Moralisée Vienna MS 2554 7. Jean Mignon Women bathing ca. 1535-1555 8. Nicholas Chorier L'Academie des Dames 1660 9. L'Ecole des filles (The School for Venus) 19th c. illustration 10. Jean Barrin Venus dans le Cloitre, ou La Religieuse en Chemise (Venus in the Convent) 1683 11. Delarivere Manley The New Atalantis 1714 12. Denis Diderot La Religieuse (The Nun) 1797 edition 13. Thérèse Philosophe (Therese the Philosopher) 1748 14. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 15. Illustration from Giacomo Casanova A History of My Life by Jules-Adolphe Chauvet, late 19th c illustration for 18th c text 16. Marquis de Sade Juliette 1797 17. Illustration from Le paysan ét la paysane pervertis; ou Les dangérs de la ville (The Perverted Peasant-man and Peasant-woman; or the Dangers of the Town by Restif de La Bretonne 1787 18. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 19. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 20. Jean-Auguste-Dominique Ingres The Turkish Bath 1862 21. Les Deux Amies (The Two Girlfriends) by Jean-Jacques Lagrenée 22. Lesbian Games – anonymous lithograph ca. 1840 23. Illustration by Aubrey Beardsley for Théophile Gautier's Mademoiselle de Maupin, 1835 24. Nicolas Francois Octave Tassaert Le Femme Damnée (inspired by the poetry of Baudelaire) 1859 25. Cover for Adolphe Belot Mademoiselle Giraud ma Femme (Mlle. Giraud my Wife) 1870 26. George Barbier 1922 illustration for Pierre Louÿs The Songs of Bilitis 1894 27. Frontispiece for Catulle Mendès Lila and Colette 1885 28. Gustave Courbet Le Sommeil (the sleepers) 1866 This topic is discussed in one or more entries of the Lesbian Historic Motif Project here: Sex between women A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Twitter: @heatherosejones Facebook: Heather Rose Jones (author page)

This week I am joined by Gothic Literature Ph.D. Candidate Wendy Fall to discuss the history and development of gothic literature. She speaks on the differences between horror and terror in Gothic lit and provides great insight into vampire and ghost stories' evolution. She can be found on Twitter @GothicUnbound and the web at www.gothicunbound.com This episode's image is Frontispiece from a penny dreadful entitled "Kathleen: or, The Secret Marriage". Written by Thomas Peckett Prest in 1842, published in 80 serial parts. (The British Library)

In this episode, I provide some background information on the slave trade, a bit of information on Equiano himself, and some ideas you can look for in his work. This is a difficult topic to address, but my hope is that by listening to a brief summary of the horrors of the slave trade that you will better be able to appreciate Equiano's value in representing millions of people who would otherwise go unheard. I also address in this episode some of the contemporary ways people criticize slavery; my hope is that you will now better be equipped to understand how those criticisms/ideas are unambiguously wrong. Image: "Equaino by Daniel Orme, Frontispiece of His Auotbiography." Wikipedia, https://en.wikipedia.org/wiki/Olaudah_Equiano#/media/File:Daniel_Orme,_W._Denton_-_Olaudah_Equiano_(Gustavus_Vassa),_1789.png. Accessed 23 Sept 2020.

To this point in the course we have studied a great number of texts written by men for other men. This episode--which is a little longer than usual--concentrates on unlocking the complicated lives of two women whose experiences illustrate both their own personal desires and the world around them. Anne Bradstreet was a clever, intelligent woman who was a member of a culture that forty years later came to fear the power women might hold; her desires, doubts, and arguments could not be plainly presented, so they are nestled inside of other tropes. On the other hand, Mary Rowlandson's account stands the test of time and is still read in Bible studies today, for it shows the solid foundation that unshakable faith can provide to a person in dire times. It also shows the basic humanity of Native Americans, though Rowlandson sometimes misses this herself. Image: Garrett, Edmund. "Frontispiece for an Account of Anne Bradstreet, Puritan Poetess, and Kindred Topics." Wikipedia, https://en.wikipedia.org/wiki/Anne_Bradstreet#/media/File:Frontispiece_for_An_Account_of_Anne_Bradstreet_The_Puritan_Poetess,_and_Kindred_Topics,_edited_by_Colonel_Luther_Caldwell_(Boston,_1898)_(cropped).jpg. Accessed 31 Aug 2020.

In this episode, I look at Eisler's last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler's scathing criticisms of newspaper astrological columns and unpack Eisler's final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look at Eisler’s last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler’s scathing criticisms of newspaper astrological columns and unpack Eisler’s final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look at Eisler’s last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler’s scathing criticisms of newspaper astrological columns and unpack Eisler’s final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look at Eisler’s last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler’s scathing criticisms of newspaper astrological columns and unpack Eisler’s final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look at Eisler’s last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler’s scathing criticisms of newspaper astrological columns and unpack Eisler’s final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look at Eisler’s last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler’s scathing criticisms of newspaper astrological columns and unpack Eisler’s final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I look at Eisler’s last days in England, where he found that the Oxford readership he had been promised before being sent to Dachau was taken by someone else, a paper shortage had put a stop to academic publishing, and that foreign Jews without visas were being imprisoned in a British internment camp on the Isle of Man. I also talk with astrology scholar Dr. Nicholas Campion about Eisler’s scathing criticisms of newspaper astrological columns and unpack Eisler’s final scholarly works on folklore, philology, and ethics. This episode officially concludes the story of Robert Eisler, but there will be a tenth and final episode in the near future that reflects on this project and academic podcasting as a whole after I have had time to hear some feedback. On that note, now that you have heard the story, I would love to hear what you think about it! Guests: Steven Beller (independent scholar), Nicholas Campion (Principal Lecturer in History at Bath Spa University and Director of the Sophia Centre for the Study of Cosmology in Culture) Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans and Chiara Ridpath Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Bodleian Libraries at the University of Oxford.   Bibliography and Further Reading: Campion, Nicholas. History of Western Astrology: Volume II, the Medieval and Modern Worlds. London and New York: Bloomsbury, 2013. Eisler, Robert. Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy. London: Routledge and Kegan Paul, Ltd., 1951. ———. “The Passion of the Flax.” Folklore 61, no. 3 (1950): 114-133. ———.“The Empiric Basis of Moral Obligation.” Ethics 59, no. 2, part 1 (January 1949): 77-94. ———. “Danse Macabre.” Traditio 6 (1948): 187-225. ———.The Royal Art of Astrology: With a Frontispiece, Sixteen Plates, Forty-Eight Illustrations in the Text and Five Diagrams. London: Herbert Joseph, Ltd., 1946. The Mass Observation Archive. http://www.massobs.org.uk/. Scholem, Gershom. “How I Came to the Kabbalah,” Commentary 69, no. 5 (May 1980): 39-53. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

The 2018 Annual Lecture Hobbes’s Leviathan: Picturing the State was given by Professor Quentin Skinner, Queen Mary, University of London, on Friday, 9 November 2018.

Show Biz, Man...it's a bitch, and the drugs only work until they don't.  SPOILER ALERT if you haven't seen ASIB, or fed the dog a steak lately.  Loosen your belts and dig in, as we have two very different takes on this movie.  Who is who and which is which? In this hotly-anticipated ripped-from-the-headlines episode, the boys break down Bradley Cooper's directorial debut, and dive deep into the performances of Gaga, Cooper, Sam Elliot, Andrew Dice Clay, Dave Chappell, Rafi Gavron, Barry Shabaka Henley, and Alec Baldwin's four-word cameo as Himself. Also: listener suggestions! Chris has seen shockingly few movies! Jason pronounces 'Objet d'art' and other words! And we premiere our new books podcast "Frontispiece"...or do we? 

Pietro Paolini's painting Portrait of a Man Holding the Frontispiece to Drer's "Small Passion"

-In this episode: Warble's employees arrive and are introduced (more formally than in the Frontispiece). Warble explains the advantages of using French lingo whenever possible, and then tricks Comfy and Albert, "kidnapping" them and commandeers the Arodnap.

-In this episode: The Frontispiece divulges the plot in very general terms, introduces the cast of characters, and warns the readers in Twainesque fashion. The Preface introduces the readership/hearers to the main protagonist and his qwirks, with an oblique allusion t